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 »
In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Mieville take a detour through the everyday lives of two children in contemporary France.
This complex, intimately scaled study of the effect of television on the French family is constructed around Godard’s interviews with a school girl and school boy, Camille and Arnaud. Godard’s provocative questions to the children range from the philosophical (Do you think you have an existence?) to the social (What does revolution mean to you?). The programs’ symmetrical structure alternates between Camille’s and Arnaud’s segments (or movements), each of which is labelled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Realitie/Logique with Reve/Morale; Violence/Grammaire with Desordre/Calcul.Read More »
This is the second film about the detective Feluda (Soumitra Chatterjee) set in the holy city of Benares, where he (along with his cousin, Topshe and friend, Lalmohan Ganguly) goes for a holiday. But the theft of a priceless deity of Lord Ganesh (the Elephant God) from a local household forces him to start investigation. Feluda comes in direct confrontation with Maganlal Meghraj (Utpal Dutt), a ruthless trader. Maganlal makes the mild-mannered Lalmohan a knife-thrower’s target and threatens Felu to stop investigation. But there are several other suspects as an innocent artisan is brutally murdered, a shady ‘holy man’ holds court on the banks of the Ganges and an adventure-loving little boy (and his grand-father), brought up on crime thrillers. The climax is a shoot-out on the Ganges, followed by the unraveling of the mystery.Read More »
With his wife Olya, Vadim wants to buy a German tow truck. But this plan comes to nothing when he falls for a faraway girl he meets online. And so he embarks on an impossible attempt to start afresh a new place with the love of his life.Read More »