300 kilos of heroin have disappeared in Necrocity, a city of terror—a city of night—where Captain Speed has a gang and the government hides the dead. An experimental crime film considered to be a landmark of Parisian underground cinema.Read More »

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Loneliness dwells in a big city; Kostya, the wedding photographer, dwells there too. At work, he is surrounded by happy people celebrating special moments in their lives. Kostya is about to turn 50, and he is drastically losing everything he used to cherish. Will he cope with his despair and regain the joy of life?Read More »

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Another stunning Tuesday Suspense Theater movie from Obayashi. I love how there is some music playing almost every second of the film. That gives the movie an special feeling of drama and I think of it as another way to telling the viewer like Hey, don’t forget you’re watching a movie!

And the fact that this is a cat monster movie about making a cat monster movie featuring Takeko Irie, also known as the cat monster actress, and her daughter playing a character inspired in herself! I will sure give a rewatch to this after I watch some of Takako Irie’s cat monster movies.Read More »

A man loses his passport on the way back to France after a trip to Algeria.Read More »

“Belovy (the Belovs)” is a breathtaking portrait of a troubled peasant family. It’s poetry in the form of a documentary that won many prizes. Beautifully shot in vintage black and white, the film tells the story of two times widow Anna Belova who lives together with her brother Mikhail. Blending the two personalities, Kosakovsky characterizes the true Russian soul: she is the rational worker, honest and strong – he is the drunken poet, the idealist, his philosophy fades into radical nonsense time after time. Kosakovsky ingeniously knows to cut between a noisy quarrel and a hedgehog drinking in the early morning sun. The two seem to live alone in the world until two other brothers come to visit. They wonder if there is a measure for misery, they quarrel, take a steam-bath and go skinny- dipping in a nearby river. The film displays the grief and joy of Anna who lives with her stoic brother and two kids who don’t seem to make any progress. Magnificent- typically Russian- photography reminds one of Tarkovsky when we closely examine the bark of a tree while we hear Anna cry over a letter she writes to a son far far away.Read More »

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It is a Sunday in late winter. Church bells ring as Huh-wook sets off to meet his sweetheart Jee-yun. Huh-wook, who cannot afford to start a family, goes off to meet his friends to get money for an abortion for Jee-yun. But he instead ends up stealing from a friend when no one wants to lend him money. The doctor recommends an abortion for Jee-yun because she’s ill. Huh-wook leaves the hospital and has a drink, then visits a bar and a roadside bar with a woman he meets in a salon. Completely intoxicated, Huh-wook makes love to her in a construction site but comes to his senses at the sound of church bells ringing and runs back to the hospital. He arrives to discover that Jee-yun has died during the surgery and goes to tell her father, only to be turned away at the doorstep. Then the friend whose money he had stolen catches him and beats him up. Blood streaming down his face, he runs down the dark streets and reminisces about the happy times he had with Jee-yun.Read More »

Abel Gance’s Marie Tudor was produced by ORTF and broadcast on French television in two parts, on 23 and 30 April 1966. It is an adaptation of Victor Hugo’s play of the same name (1833), and was the first of two productions Gance made for French television – the second being Valmy (1967). Marie Tudor mines historical and literary material familiar from Gance’s earlier work. He had already turned to sixteenth-century history for his Lucrèce Borgia (1935) (which also echoed another Hugo play) and for his script for Jean Dréville’s La Reine Margot (1954) – likewise a literary adaptation (Alexandre Dumas’ novel of 1845). Though modest fare by Gance’s standards, Marie Tudor was one of the projects that marked his return to critical and commercial visibility in the 1960s – starting with Austerlitz (1960) and ending with his last film, Bonaparte et la Révolution (1971). This copy comes from the digital archive of the Institut national de l’audiovisuel (INA).Read More »

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Created for an innovative museum exhibition in Barcelona and Paris that paired the works of Víctor Erice and Abbas Kiarostami, Correspondences is composed of ten “filmed letters” between the two great filmmakers. As in their other films, children, imagination, and the creative process take center stage; in one, the young grandchildren of the painter from Erice’s The Quince Tree Sun show off their own unique styles, while in another nine-year-olds in a rural Spanish classroom watch Kiarostami’s Where Is the Friend’s Home? Kiarostami follows an “escaped quince” from the Spanish film to a neighborhood in Iran in one sequence, and plays with artistic perspective in another. “Modern messages in a bottle” (Miguel Marias), these not-so-simple video letters recognize no international stamps or borders, only the artistic and personal links between individuals.Read More »

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Taking place in one of the largest recycling facilities in the US, Single Stream blurs the line between observation and abstraction and takes a close look at the problem of waste through a visual and sonic exploration.Read More »