Quote:
Every image in The Fall of Communism as Seen in Gay Pornography comes from gay adult videos produced in Eastern Europe since the introduction of capitalism. The video provides a glimpse of young men responding to the pressures of an unfamiliar world, one in which money, power and sex are now connected.Read More »
Synopsis:
The film’s narrative follows three leading actresses, all appearing in the same movie (but not appearing in the same shot until the end of the film), and all undergoing their own personal crises. It’s very formally worked out, through a series of carefully balanced dialogues with confessors, synchronized confrontation scenes, and staggered flashbacks. If Farewell was Yoshida’s self-conscious Resnais tribute, this is him in Bergman mode (Mariko Okada’s story even begins with her experience hysterical mutism, à la Persona), though the finished product is much livelier and more pungent than anything Bergman would have come up with (maybe Zetterling’s The Girls is a more apposite reference point). On another level, it’s also referencing a big old Hollywood melodrama, pastel panoramas in various shades of bitch (there are also nods to All About Eve).Read More »
The camera shows us a door handle and the door’s striker plate; from this angle, they form a cross. The door opens and in steps someone in a dark trench coat. He approaches a bed in the room, where a shirtless man sleeps. The intruder takes out a knife. His movements are without haste, but deliberate and efficient. Will his sleeping victim awake in time to offer resistance?Read More »
Storyline
A young, orthodox Jewish woman is alienated from her Jerusalem community and drawn into the world of spirit. Surrounded by dark sounds of the “Other Side,” she moves into remote and increasingly desolate regions of Arab lands. Her journey, like a mystical quest through her own inner landscapes, culminates in her return to Jerusalem. There, indelibly marked, she confronts her deeper loneliness and a devastating sense of exile.Read More »
Quote:
Despite its many connotations, black and whte is most frequently used to signify the past––especially the past ihabited by our parents and grandparents, which we can see in old movies but never experience directly. A highly intelligent commentary on this phenomenon is independent filmmaker Mark Rappaport’s EXTERIOR NIGHT, made for high-definition color TV (HDTV) which combines original color imagery with archival footage of sets or backgrounds from THE MALTESE FALCON, THE BIG SLEEP, MILDRED PIERCE, POSSESSED, DARK PASSAGE, THE FOUNTAINHEAD, YOUND MAN WITH A HORN, STRANGERS ON A TRAIN, and a score of other black-and-white movies. Using a blue-screen technique, Rappaport and HDTV cameraman Serge Roman frequently pose contemporary actors against studio nightclubs and streets from the 1940s.Read More »
Quote:
Daniel Eisenberg’s quiet, voyeuristic portrait of Chicago shrouded in darkness draws us back to the beginning of cinema: to the Lumieres and Albert Kahn’s “Archives of the Planet” to long takes by a fixed-camera with a fixed-lens to images that unfold in durational time. Confronting one-hundred years worth of cinematic conditioning, accomplished through montage and editing that has accelerated the way we experience time, Eisenberg meticulously edited his footage to avoid the chronological thrust of a narrative while evoking the rhythms of a city at night, long a fascination of filmmakers. Eschewing the conventions of fiction and non-fiction, SOMETHING MORE THAN NIGHT embodies the heightened sensual experience of place, time and memory.Read More »
Plot
A series of murders takes place, and in each case there are traces of decomposed flesh under the victims’ nails. Is there a link to the brilliant scientist who is performing brain transplant experiments on baboons, who thinks he is close to cheating death itself?Read More »
Peter Brunette wrote:
At the time of India , as we saw, Rossellini was not really very interested in the medium of television, and the episodes broadcast were little more than outtakes from the later theatrical version. By 1964, however, when Rossellini had begun to take television more seriously, he had learned many things. One of them was that the commentary should add something to the images rather than try to replicate them verbally, as it had in the television series on India. In L’età del ferro (The Iron Age), therefore, the director appears on-screen, acting overtly as teacher and serving as a guarantor of the images, as it were, rather than as their competitor.Read More »
Description: A rich swinging bachelor and his married friend escape to the country to avoid the women plaguing their lives.Read More »