Autotranslated description:
Scenes from New York in the 1960s. Four young people, friendship, jealousy, separation. Filmed in black and white, with an agile camera, without dialogue. Mark Rappaport’s early work was shot in 16mm on superimposed film material. Mark Rappaport’s instruction to the light controller in the “Movielab” copier: “Scenes are overexposed. Please try hard to get this to look good.” The camera and optical sound negative was found by Rick Prelinger. The Munich Film Museum has digitized it and redefined it. Sound disturbances at the beginning of the film and image damage at the end of the film are due to water damage.
(Stefan Drössler)Read More »

Professor Paris Catalano visits Venice, to investigate the last known appearance of the famous vampire Nosferatu during the carnival of 1786.Read More »

Quote:
In Buenos Aires of the 1840’s, a young Jesuit and a wealthy socialite fall in love and begin a torrid affair. They escape from the city, and, in disguise, set up house in a village, assuming they are safe and beyond the cares of anyone. However, both the church and Camila’s family are enraged, vowing to hunt down the lovers for a capital crime. Based on a true story.Read More »

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In Seoul, the paths of two men and one woman intersect and move apart from one another, centering around their love for cinema. A suicidal student meets a young woman who decides to follow him in his fatal gesture. Coming out of a cinema, Tongsu, an unsuccessful filmmaker, spots a beautiful young woman, and recognizes her : she is the main actress in the film he has just seen. The life of this wavering and distressed young man strangely echoes the one of the young man from the beginning…Read More »

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In a big city, a wave of suicides catches fire. The modus operandi is always the same: the victims wildly stab themselves to death, cut their own throats and butcher themselves beyond recognition, without any apparent reason. The only thing the dead have in common is the phone number they call just before they perish at their own hand. Keiko, a crack policewoman, takes it upon herself to solve the case. Soon enough she reaches the conclusion that someone is entering the victims’ dreams and persuading them to take their own lives. She appeals to Kyoichi, a man known as a nightmare detective who can enter the dreams of others, to help. When Wakimaya, one of Keiko’s colleagues, falls victim to the killer, Keiko takes the risk and dials the number, though she knows that she may well be the next suicide on the list.Read More »

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When Rosa came to this place the earthquake had just happened and the building was one enormous ruin. People say it was a cinema, but Rosa, who has lived here for many years, has never seen a film in her life. So many things happen in “Cinema Alcazar” that it’s all Rosa can do to keep up.Read More »

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Ride the High Country is the one Sam Peckinpah movie about which there has never been controversy–save at MGM in 1962, when a new studio regime opted to dump this beautiful, heartbreakingly elegiac Western into the bottom half of a double-bill. Westerns rarely even got reviewed back then, so it’s wellnigh miraculous that critics discovered the movie and raved about it. Newsweek called it the best American picture of the year.
Veteran cowboy stars Randolph Scott and Joel McCrea portray aging gunslingers in the twilight of the Old West. McCrea’s character, Steve Judd, signs on to transport a shipment of gold from a remote mining camp. Gil Westrum (Scott), an old crony now trick-shooting in a carnival, agrees to help but really aims to seduce Judd into stealing the treasure. The slow-building tension between longtime friends–one still true to the code he’s lived by, the other having drifted away from it–anticipates the tortuous personal dilemmas played out to the death by Peckinpah’s Wild Bunch, Pat Garrett and Billy the Kid, and Benny and Elita in Bring Me the Head of Alfredo Garcia.Read More »

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In this Austrian exploitation film Udo Kier plays a young thug who falls in love with a prostitute. After she is murdered he wants revenge and start looking for the murderer.
This is the second film by Eddy Saller and was quite a shock to the austrian mainstream used to movies which reminisced about the better days under the monarchy.Read More »

Synopsis-
Nothing is common between the two men to ever meet and understand each other; neither the origin of the British administration of imperial time nor the primitive culture of the tribal from the jungle in central India. Nothing is common but the sharing of a common passion: hunting.

To both of them a big game is a game, a prey is a prey; this is probably why Ghinua, the young hunter and a loving husband, reacts like a terrible “hunter” when the usurer-landlord steals his wife. He slays him as the wild pigs have to be slain when they destroy harvest, or a tiger when he lifts a child. An avenged man, he brings his trophy, the head of the most mischievous game in his area, to the only man who will understand him, the English sahib, the other hunter.Read More »