Quote:
A decade after he broke through with Breaker Morant, Australian director Bruce Beresford made another acclaimed film about the effects of colonialism on the individual. In a performance that earned him the Berlin Film Festival’s Silver Bear for best actor, Maynard Eziashi plays the title character, a Nigerian villager eager to work as a civil servant for the British authorities, including a sympathetic district officer (Pierce Brosnan), in the hope that it will benefit him in the future. Instead, his ambition leads to his tragic downfall. Mister Johnson, based on the 1939 novel by Joyce Cary, is a graceful, heartfelt drama about the limits of idealism, affectingly acted and handsomely shot.Read More »

Northern Italy, late sixties. In the midst of the family crisis, with the parents on the brink of separation, little Luciano is forced to move to a religious college. The stern father, long distracted by a lover, fears that the mother’s influence could harm her son in such a delicate period. But Luciano ill-suited to life in college. While the rigid priests stifle every momentum, the boy, who is homesick, closes more and more in himself and can not make friends with his companions.Read More »

IMDB:
RIVER ROAD is the story of two Yugur ethnic minority brothers, Bartel and Adikeer. They set out on a journey across the prairies of northwestern China in search of their parents, skillfully maneuvering their camels over the vast expanse of dry ground. The allure of the film’s core components – the great outdoors, children, and animals – instantly catch our attention. Though realistic, the boys’ journey, powered by dreams and anxiety, is depicted with a touch of fantasy. And to firmly establish his characters, director Li Ruijun imbues this impressive effort – a coming-of-age drama couched in the guise of an adventure – with a winning sense of humor rooted in careful attention to detail. At the heart of the film, however, is a mournful air, bemoaning the disappearance of ethnic minorities and the destruction of nature. As suggested by its epic scale, the work has the classic qualities of a film that allows us to enjoy being emotionally affected emotional by what we see.Read More »

We don’t see the woman on the train moving through Sichuan, just the trees, rivers, lakes and houses passing by the window, vanishing behind the blur of vegetation, segmented by the tunnels.Read More »

SYNOPSIS
Early evening – a big city. Two teenagers shyly flirt with each other, a housewife sits down to watch her daily soap, nurses in a hospital gossip before the nightshift starts, a trendy couple drives through rush hour, so excited they can hardly wait to get home – a man with a rifle enters a building seeking revenge. In the blink of an eye seemingly unrelated events turn upside down what were once secure, happy, ‘normal’ lives. Behind fear, beyond the unexpected, there is love and hope.Read More »

“For Jean-Luc Godard,with all the admiration and affection of
Jacques Perconte and Nicole Brenez,December 3, 2020.”

At the end of October (a few days before my birthday actually) Nicole Brenez asked me to produce a small film for a great man, a short film, a film like a birthday song, a common gift. Of course, I go for it, although I wonder how I could do something like this. That JLG sees one of my films, that he tampers with it and uses it is a blessing, a huge honor, but it’s quite another thing to send him images, to make a little film for him, so humble the gesture be it … Nicole Brenez sends me many portraits that she likes very much, some are historical documents, others images made by JLG himself. She also sends me documents, films, recordings. An incredible amount of stuff for a month of immersion. The birthday is December 3. I don’t know why, but I immediately wanted to grab my camera and take JLG to a screen on a boat, for a ride in the port of Rotterdam (where I live). I have tried several times to express this intuition. I wanted to film.Read More »

Quote:
Loosely based on William A. Seiter’s 1948 film One Touch of Venus, Steven Arnold’s first film is a macabre, decadent work presenting mannequins and models that travel through strange universes.

From Amos Vogel’s Film as a Subversive Art:
A haunting, genuinely decadent work about mannequins that may be real and girls that may be models, journeying through strange universes towards possible self-discovery. An exorbitant, perverse sensibility informs the ambiguous images and events.Read More »

Synopsis
Digital edition of the original 1993 video-tape. Dedicated to Dr. Albert Hofmann and his famous bicycle trip.
(FILMAFFINITY)Read More »

The young Piano gets lumbered with the job of keeping the set dry during the shoot for Anocha Suwichakornpong’s latest film Come Here. Only she seems capable of warding off the rain.Read More »