Synopsis wrote:
The film is based on an actual event, the murder of a Greek worker living in Germany by his barmaid wife Eleni and her lover Christos, who falsify the evidence of the husband’s return to Germany but are suspected by a sister-in-law and eventually accuse each other of the crime. A woman murders her husband, upon his return home after a long absence, with the complicity of the lover who has relieved her loneliness. Costas Ghoussis, an emigrant recently returned to his native country, is coming back from the fields, a shovel on his shoulder. He pushes open the garden gate in front of his house and calls his wife: Eleni! She does not answer; the reason: she is hidden behind the door of the kitchen with another man, Christos, a gamekeeper, the lover that she took during her husband’s absence. Just as Costas crosses the threshold he is attacked and strangled. Read More »

Steven Soderbergh mixes Siodmak’s 1946 and Siegel’s 1964 The Killers
with wide selection of musical numbers “when presented with the challenge of delivering
some audio/visual material for a series of events organized in LA “Read More »

Synopsis wrote:
“The sub-personalities of me, as baby, athlete, witch and artist are synthesized in this film of superimpositions, intensities, and color layers coming together through the powers of film.” — Barbara HammerRead More »

Quote from Wenders:
” It’s a film about the Munich police and their new tactics for dealing with the student situation in 1968. It showed their efforts to work in a more sophisticated and psychological way . It is a very funny movie, I think ….a little bit my Laurel and Hardy film.”Read More »

Quote:
Jonas Mekas, the godfather of American “underground” cinema, shot literally miles of impromptu film on a tiny, touch-and-go Bolex camera before assembling his first “diary film” and screening it before an audience of friends and fellow indie artists in 1969. At that point the home-movie ethos was somewhat less than groundbreaking, but a glance at what Mekas’s contemporaries were working on or releasing at the time—Kenneth Anger was ensconced in off-and-on production for Lucifer Rising, Stan Brakhage was toiling on the 8mm Songs cycle, and Paul Morrissey had just morphed the Warhol aesthetic into the zeitgeist-preaching Flesh—suggests just how perpendicular his project stood in relation to the remainder of the bicoastal art-house scene. Read More »

Synopsis:
Benedetta is a 2021 biographical drama film directed and co-written by Paul Verhoeven, starring Virginie Efira as Benedetta Carlini, a novice nun in the 17th century who joins an Italian convent and has a lesbian love affair with another nun.
The film is loosely based on the 1986 non-fiction book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy by Judith C. Brown.
The events of the movie occur during the 17th century. The main character is Benedetta Carlini, who is an Italian nun in the abbey of a convent in Tuscany. She was considered to be mystical and venerated by her religious entourage, and finally arrested and judged for sapphism.Read More »

The adventures of pirate Captain Red and his first mate Frog.

Captain Red runs a hardy pirate ship with the able assistance of Frog, a dashing young French sailor. One day Capt. Red is captured and taken aboard a Spanish galleon, but thanks to his inventiveness, he raises the crew to mutiny, takes over the ship, and kidnaps the niece of the governor of Maracaibo. The question is, can he keep this pace up?Read More »

Synopsis wrote:
In her first feature, after decades as a pioneer of lesbian cinema, Barbara Hammer weaves striking images of four contemporary gay and lesbian couples with footage of an unearthed, forbidden, and invisible history, searching eroded emulsions and images for lost vestiges of queer culture. Questions of historic representation are examined through addressing the margins, between-the-line readings, and images outside of prescribed textual boundaries. Archival footage from Lot In Sodom (1933), often regarded as the first queer film made in the United States, as well as footage from German narrative and documentary films of the thirties, are interwoven with contemporary footage in this multi-faceted, haunting documentary.Read More »

Synopsis:
Recovering from his disastrous experience with the never-completed La Fleur de L’Age, French filmmaker Marcel Carne proved he hadn’t lost his touch with La Marie du Port. Played by Nicole Courcel, the eponymous Marie is the younger sister of Odile (Blanchette Burnoy). Odile in turn is the mistress of been-there-done-that Chatelard (Jean Gabin). Upon meeting Marie, Chatelard’s cynicism melts away. Still, he merely toys with the girl’s affections–at least until he discovers that Odile is carrying on an affair with Marie’s boyfriend. Chatelard stops Marie from committing suicide, and for the first time in his life really means it when he pledges his undying devotion. Like many French films of the era, La Marie du Port was but a shadow of its former self when the American censors got through with it.Read More »