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In a small town, Roy Seeley and his girlfriend Mandy Pullman are camping by the lake. Out of the blue, they are attacked and Roy is murdered while Mandy is violently raped. Dr. Sam Cordell is impressed with the violence and realizes that Mandy has had the uterus ruptured. Then the librarian Carolyn Davies is also violently raped and murdered. Lieutenant Drivas believes that the women have been raped by a gang while Sam and Sheriff Hank Walden believe that only one man did. The snoopy reporter Laura Kincaid is always interfering with the investigation and Sam has a love affair with her. Meanwhile the young Tim Galen, who dates Sam’s daughter Jenny Cordell, discloses that he has premonitory visions of the deaths, but his grandmother Agatha Galen tries to convince him that he has nothing to do with the murders. But when Jenny learns about his dreams, she summons her father, Laura and they discover a supernatural secret about the Galen’s family.Read More »

Review from Bloomsbury Foreign Film Guide by Ronald Bergan and Robyn Karney:
Three generations of a family – grandfather, father, grandson – are obsessed with swimming. This passion destroys the first two, while the middle-aged surviving member tries to keep it at bay.
Made in Georgia, this is an original piece of work, constructed as a film within a film, and shot asdistinct segments intercut with the activities of the crew which is supposed to be making it. Grandfather’s tale is photographed in sepia, intriguingly beautiful and lyrical; son’s episode is black and white, and redolent with the atmosphere of the postwar Stalinist period; grandson’s story takes place on the contemporary film set and is in colour. There is little dialogue, voice-over commentary being largely used, and it is difficult to appreciate why the film’s release was withheld for a few years. An interesting, often absorbing curiosity, that falls apart in the third segment.Read More »

In the 1990s David Perlov returned to the format of the filmed diaries he produced between 1973 and 1983, organized in a different way, closer to the cinematographic essay, and divided into three thematic chapters, “Sheltered Childhood”, “Routine and Rituals” and “Back to Brazil”. In the first, we follow the childhood of his grandchildren; in the second, the political routine of Israel, the assassination of Prime Minister Yitzhak Rabin, the rise of Benjamin Netanyahu and various rituals that make up the country’s daily life; in the third, Perlov returns to Brazil, remaking, for the last time, his trips to Rio de Janeiro, São Paulo and Belo Horizonte.Read More »

Al and Elsa have been a couple for some time, but the chances that their relationship will be long-lived are few. For one thing, Al is appallingly dependent on Elsa for his every emotional need. For another, Elsa is an incredibly elusive person, extremely difficult to pin down about anything – especially whatever is bothering her. How they have managed to survive this long is a cause for wonder. When Al gets an opportunity to be cast in a movie role, complete with no-cost occupancy in the casting agent’s ugly but fashionable apartment, he jumps at the chance to provide a little material satisfaction for his beloved Elsa. But what exactly does she want?Read More »

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Armenia’s leading living filmmaker, Harutyun Khachatryan, chose his nation’s 19th century poet, Ashugh Jivani, as his new film’s central spirit. This is hardly accidental, for nothing here is prosaic. Here is a dazzling, alternative vision of a cinema that is essentially poetic, metaphorical and allusive. A work of tactile sensuality, it nominally depicts the step-by-step creation of a monumental statue of the poet that ends up traveling on the back of a truck through the Armenian countryside. From this Khachatryan conjures a transcendental cinematic experience, employing a sublime fusion of sound, image and music to evoke the soul of the director’s beloved country and its people.Read More »

Plot : Over a slice of chocolate cake, a mother (Yuh Jung Youn) and daughter (Jung Yu-mi) tensely discuss the good-for-nothing relative whose money troubles have brought them to the seaside town of Mohang. For now they have nothing to do but wait, so the younger woman, Mihye, composes a list of goals for her involuntary vacation — a list which she seems to fulfill almost accidentally, as she and her mother wander, eat, drink, and meet with fate, here in the form of a clumsily flirtatious film director (Joon-Sang Yoo).Read More »

Wealthy Sunny von Bülow lies brain-dead, husband Claus guilty of attempted murder; but he says he’s innocent and hires Alan Dershowitz for his appeal.

Letterboxd review by chavel ★★★★★
An aerial shot that opens is like no other, it starts overlooking over the exclusive Easton Bay and then turns upwards, with the shot swooping over estate after estate in ritzy Rhode Island for nearly a minute. In an overhead shot, these are the richest looking houses you’ve ever seen, property after property, perfectly, lushly landscaped.Read More »

Dreams in Copenhagen is director Max Kestner’s documentary film portrait of Denmark’s capital. COPENHAGEN DREAMS is a film about the physical surroundings that are part of shaping our lives. About the buildings we wake up in, the front doors we walk out of, the streets we traverse. It is also a film about how the way we live our lives affects our physical surroundings. About the places we dream of and the walls onto which we scratch the names of our loved ones, before it’s too late.Read More »

Naqoyqatsi, also known as Naqoyqatsi: Life as War, is a 2002 documentary film directed by Godfrey Reggio and edited by Jon Kane, with music composed by Philip Glass. It is the third and final film in the Qatsi trilogy.

Naqoyqatsi is a Hopi word meaning “life as war”. In the film’s closing credits, Naqoyqatsi is also translated as “civilized violence” and “a life of killing each other”. While Koyaanisqatsi and Powaqqatsi examine modern life in industrial countries and the conflict between encroaching industrialization and traditional ways of life, using slow motion and time-lapse footage of cities and natural landscapes, about eighty percent of Naqoyqatsi uses archive footage and stock images manipulated and processed digitally on non-linear editing (non-sequential) workstations and intercut with specially-produced computer generated imagery to demonstrate society’s transition from a natural environment to a technology-based one. Reggio described the process as “virtual cinema”.Read More »