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A darkly comic tale of desperation, writer/director Bruce Robinson’s post-mortem on the sixties plays out like one long hangover- its characters at the arse-end of a dying era, faced with the stark reality of their paltry existences and the inevitable onslaught of maturity, sobriety and worst of all, the seventies. The film moves with as little motivation as its protagonists, ambiently charting the exploits of its two out-of-work upper-middle class Londoners, their incessant boozing, their efforts to ward off unwelcome visitations from spaced-out dealer Danny (Ralph Brown), their ill-planned and largely accidental trip to the country, and their close encounters with Withnail’s outrageously queer relative Uncle Monty (Richard Griffiths). Grant’s central tragicomic performance is mesmerisingly unhinged, his beady eyes riveting around in his skull with absolute indignation, professing his own worth with completely unchecked arrogance.Read More »

Description:A Bukowski-inspired tale from the New York underground. Victor Argo (Ghost Dog, Taxi Driver, True Romance) is a shoe store manager who attempts to revive a failed career as a stand-up comic by performing at a mysterious club where he finds himself sharing the stage with a looming, ready-to-shock electric chair… and performing before an audience of himself in the various stages of his life, and other friends, family and enemies – who are all subject to his cantankerous and biting routines on love, society, friendship and god. The Electric Chair features a stunning performance and rare leading role from the late, great Argo, one of New York City’s most prolific and memorable character actors. Never before released, The Electric Chair is a true lost treasure of New York City filmmaking at its most inspired, sarcastic and dark – laced with shades of both Scorsese and Jarmusch – and striking a chord somewhere between Lenny and The King of Comedy.Read More »

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Some filmmakers have difficulty traveling between the short format and feature films, the former more often than not feeling like exercises, excerpts, or condensations, or the latter, in rarer cases (given the relative death of the short format some 60-odd years ago) seeming simply like brief ideas outstaying their welcome. The aesthetic of writer/director Eugène Green is so clean and simple in this age of image saturation and hyper-abundant kinetics that his “mini-film” Les Signes feels as natural and fluid as his fascinating longer features like 2004’s Le Pont des Arts and 2003’s miniature knight’s tale, Le Monde Vivant. Read More »

A social commentary on post-war France’s urban developments.Read More »

A baby is left at the gates of a monastery. The monks attempt to find a home for it, but end up deciding to raise the boy themselves. However, in the process, they end up offending a high-ranking official in the local town, who resolves to have the monks evicted. Several years later, the boy inadvertently causes chaos at the town fair, and the official (now the mayor) uses the event to force the eviction. With only a month left in their home, the monks need a miracle. And it is then the boy discovers a crucifix in an upstairs room in the monastery…Read More »

Maya Grohn wrote:
This film is based on the book Heaven and Maiko by Yoshiya Nobuko.

It is a story of two girls with totally different family backgrounds. The family of Eiko was in the okiya business, which handled geiko (geisha), one of the highest rank okiya in Osaka. Eiko was attending the girls’ school, modeled after Wilmina Girls School (currently Osaka Jogakuin).

One day a new girl, Sada Mitsuru moved to the school from Tokyo, Mitsuru’s father was a successful businessman and her mother a pious Christian.Read More »

Two distant cousins meet at a wedding banquet for an elderly couple. Over time, a close friendship develops between them, but their spouses begin to think that they are more than just friends.Read More »

Salvatore (Gian Maria Volonte) lives in a rural environment on the island, and when he becomes fed up with Mafia tactics, he swings into action. First he convinces the farmers and workers that they can band together, and then he convinces them to go on strike against their exploitative employers. The results bring tragedy in their wake, but the beginnings of a unified stance against the mobsters takes hold.Read More »

This is a newly edited version of the slideshow The Other Side (1992–2021).

The Other Side was produced as an homage to the artist’s transgender friends whom she lived with and photographed from 1972 to 2010. The work celebrates the “gender euphoria” of her friends, in their possibilities for transcendence.
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“The people in these pictures are truly revolutionary; they are the real winners of the battle of the sexes because they have stepped out of the ring.” – Nan Goldin.Read More »