Quote:
Could an amnesiac refugee named Anna Anderson (Ingrid Bergman) truly be the Grand Duchess Anastasia, purported sole survivor of the execution of Czar Nicholas II and his family during the Bolshevik Revolution of 1918, and therefore the rightful heir to the Czar’s fortune? Backed by a group of White Russian exiles led by General Bounine (Yul Brynner), she faces her possible grandmother, the imperious Dowager Empress Maria Feodorovna (Helen Hayes), and the fortune-hunting Prince Paul (Ivan Desny).Read More »

A few unusual characters and their unconventional therapists cross paths resulting in hilarious interactions.Read More »

Plot:
Jean Valjean is a forced man who after nineteen years is released. At that time he will have to fight against society’s contempt and his fate will go through various phases, from opulence to the relentless pursuit of justice, always with the shadow of his fierce enemy, the policeman Javert, who will persecute him for more than thirty years.Read More »

Tells the story of a young woman’s relentless search for her fiancé, who has disappeared from the trenches of the Somme during World War One.Read More »

Told in three interconnected segments, we follow a young man named Takaki through his life as cruel winters, cold technology, and finally, adult obligations and responsibility converge to test the delicate petals of love.Read More »

IMDb review:
Although it isn’t too surprising that “Rapists At Dawn” is banned in it’s native land, I’m not sure why it isn’t available elsewhere. It’s counterparts, like “Last House On the Left,” “House On the Edge of the Park” and “I Spit On Your Grave” etc are out there for commercial consumption. What makes Dawn more disturbing isn’t the graphic nature, as the film never ventures into hardcore territory; but the sheer amount of rape and violence. This is one nihilistic and angry film. The four youths depicted are like a gang of hyenas, raping and beating random women with utterly no sense of guilt or remorse. And it just goes on and on. Read More »

crescentblues.com wrote:
Were women ever inferior to men? The Divorce of Lady X insists that females possess superior intellect to compensate for any lack of physical strength when dealing with the larger, if not the smarter, of the species. Five characters, including two couples, find themselves star-crossed, racing ’round London to set marriage right in this romantic comedy. Who could be more heart-pounding than a young Olivier, his career flying out the window as he pursues a judge’s grand-daughter? The judge, of course, identifies with the hero, who makes as much of a buffoon of himself as the girl’s grandfather probably once did. Laughter abounds in this film to such an extent that even the music sounds funny.Read More »

Quote:
The city today is as rationalised and regulated as a production process. The images which today determine the day of the city are operative images, control images. Representations of traffic regulation, by car, train or metro, representations determining the height at which mobile phone network transmitters are fixed, and where the holes in the networks are. Images from thermo-cameras to discover heat loss from buildings. And digital models of the city, portrayed with fewer shapes of buildings or roofs than were used in the 19th century when planned industrial cities arose, amongst them the Lille agglomeration. Despite their boulevards, promenades, market places, arcades and churches, these cities are already machines for living and working. I too want to “remake” the city films, but with different images. Limited time and means themselves demand concentration on just a few, archetypal chapters. Fragments, or preliminary studies. (Harun Farocki)Read More »

Quote:
The final film of “Elective Affinities”. A central element is a documentary film about paranoid conditions. Another is a flow of images of an apple tree in my back yard filmed impulsively, without forethought, the opposite of the static camera of FOG LINE. The radical breaking with the previous passivity of the camera has deep psychological dimensions. That was the first thing that led me to bring the paranoid material into the zone of the tree footage. The elements of sound and image are closely matched to each other, frame by frame. Inserted in them at the heart of the film are images of children, Kenneth and Louise, from an instructional documentary about the seasons. Cries of cattle being auctioned and sent to the stockyards are also inserted. Read More »