Synopsis:
A sniper is killing residents at a winter resort. Who will die next? And why?

Review:
There’s no doubt that Andy Griffith did his best to shun his good natured country boy persona by making some very interesting, and often quite dark, made for TV movies during the 70s (and of course A Face in the Crowd… I know a little bit about other movies sometimes too). He lent his performances as the bad guy some dark justice as audiences would see in both Pray for the Wildcats (“I’m a hippie with money!”) and Savages (both released in 1974). In Winter Kill he returns to his more recognizable good guy shtick, but there’s not much of his signature joviality to be seen as he finds himself on the trail of a cold-blooded killer in a small, snowy mountain town.Read More »

Quote:
A beautifully observed, beautifully performed offbeat comedy.

Milkman Melvin Dummar (Le Mat) picks up a grouchy old hobo in the Nevada desert one night, lends him a quarter while disbelieving his claim to be Howard Hughes, and then returns to a mundane life of work, divorce, remarriage, and failed songwriting attempts, until eight years later he appears to have been left a fortune by the dead tycoon.Read More »

Quote:
“This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it’s hard to believe the whole movie is confined to it, and has this neck-jerking camera gimmick that hits a wooden stop arm at each end of its swing. Basically it’s a perpetual motion film that ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera’s swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam. “In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency.” – Manny Farber, Artforum, 1970Read More »

The story of a nihilistic samurai whose mother is killed, whose sister is used and deceived, and who loses the only love of his life.Read More »

There are some videos that are sealed and can no longer be seen. We will show you a few of them now. However, promise… That you won’t regret daring to watch these videos. A found footage anthology horror film by Kôji Shiraishi.Read More »

The apparent vertical scratch in celluloid that opens Presents literally opens into a film within the film. When its figure awakens into a woman in a ‘real’ unreal set, the slapstick satire of structural film begins. It is not the camera that moves, but the whole set, in this first of three material ‘investigations’ of camera movement. In the second, the camera literally invades the set; a plexiglass sheet in front of the dolly crushes everything in its sight as it zooms through space. Finally, this monster of formalism pushes through the wall of the set and the film cuts to a series of rapidly edited shots as the camera zigzags over lines of force and moving fields of vision in an approximation of the eye in nature. Snow pushes us into acceptance of present moments of vision, but the single drum beat that coincides with each edit in this elegaic section announces each moment of life’s irreversible disappearance.Read More »

Quote:
Tandis qu’un cinéma populaire, purement commercial, se développe tant à Bruxelles qu’en région flamande, Charles Dekeukeleire se lance dans l’aventure du long métrage en 1937, sur un scénario ambitieux du romancier Herman Teirlinck. Le cinéaste va le réaliser en Flandre avec des acteurs non professionnels, originaires de la campagne, et avec des fonds réunis par Henri d’Ursel auprès de riches mécènes. L’argument imaginé par Teilinck, issu de l’une de ses pièces et basé sur une approche expérimentale du Temps, relève du fantastique rural: un vagabond jette la panique dans une communauté villageoise en déclenchant une série d’événements insolites qui le font craindre comme sorcier, comme esprit malfaisant. Read More »

Romeo Castellucci is a complex artist, one of the main characters of the contemporary theatre. In the last thirty years, Castellucci and his theatre company, the Socìetas Raffaello Sanzio, staged performances all over Europe and became one of the leaders of the avant-garde theatre.

Theatron, the film by the multi-award-winning film-maker Giulio Boato, is an unprecedented portrait of Romeo Castellucci. Castellucci and his theatre company, the Socìetas Raffaello Sanzio, are key protagonists of avantgarde theatre. To a Vivaldi soundtrack, Theatron layers Romeo and Claudia Castellucci’s comments with the testimonies of dramaturgs, composers, choreographers, critics and actors (including Willem Dafoe) who have collaborated with the director. Between rehearsals and international tours, the film is a deep reflection not just on the performances, but also on the connection between the author and the representation of human nature.Read More »

During WWII, a penniless American painter, Philip Weber, decides to collaborate with the Nazi leaders and help them steal priceless French artwork to keep his room in the chic Ritz Hotel and indulge himself in Nazi-occupied Paris.Read More »