The year is 1945. After the horrific fire-bombings of the Pacific War levels Japan to the ground, the government decides to consult spiritual psychics to aid them in winning the war. Unfortunately, the resentment and agony of the souls of the fire-bombing victims culminate together to revive the evil Onmyoji, Yasunori Kato. Only a young, psychically imbued apprentice of the priests will dare fight against the evil magic user. However, can this lone man possibly contend with Kato’s overwhelming power?Read More »

Kihnu is one of Estonia’s islands, a small piece of land in the Gulf of Riga close to the town of Pärnu. Soosaar looks at the islanders from the point of view of an explorer, just like his filmmaking hero Robert Flaherty once did. Their traditional lifestyle unfolds in front of his camera: customary songs and rituals, and heartfelt images of people’s daily lives. The film takes an anthropological approach to filmmaking, characteristic of a style Soosaar would master in his later pictures.Read More »

20 years after the monumental “I mostri” which was a great example of Italian sketch comedy, 3 of the greatest Italian directors ever (Risi, Monicelli, Scola), the best Italian writers ever (Age, Scarpelli), the best Italian actors ever (Tognazzi, Gassmann, Sordi) and one of the most beautiful woman in the world (Ornella Muti) participate to this great tribute. The last sketch (a funeral) is symbolic : the death of the Italian comedy, which made Italy the second country in the world for cinematographic productions during 50’s and 60’s.Read More »

Synopsis:
When his wife is killed in a restaurant shoot-out, intelligence man Harry Hannan (Roy Scheider) has a breakdown and finds that his department doesn’t want him back. Someone’s trying to kill him and it could be them, though a cryptic Jewish death-threat suggests there’s something else going on. His only ally seems to be mousy Ellie Fabian (Janet Margolin) who has managed to move into his New York apartment.Read More »

Metzger’s Farewell to Charms
Dries Vermeulen6 March 2010
The last and least-liked of Radley Metzger’s explicit quintet shows the talented filmmaker now almost dispensing with plot altogether, a trend he previously toyed with on his free form BARBARA BROADCAST in a radical departure from the classic three act structure, borrowed from stage and screen lore since times immemorial, he previously and rigorously adhered to. Though he has never gone on record about it, my guess is that Metzger realized he had pretty much expanded the fornication film form to its genre-imposed limits with THE OPENING OF MISTY BEETHOVEN and was now gently phasing himself out of what was indeed increasingly becoming an industry (rather than art form) he had entered somewhat reluctantly in the first place out of economic necessity as the commercial availability of hardcore had made simulated screen sex obsolete. Read More »

Review:
(taken from imdb)
Yet another Euro film based on the memoirs of goodtime gal Josephine Mutzenbacher (aside from several softcore, there were also the XXX SENSATIONAL JANINE and PROFESSIONAL JANINE). All credits are pseudonymous in the US video version. Several of the plot incidents are also found in PROFESSIONAL JANINE. Among the familiar set pieces are the party at the tavern, including the orchestra, and the missing watch scene.Read More »

Guy Debord’s landmark cinematic analysis of consumer society is based on his influential sociological book “La société du spectacle” (1967). Debord was a leading member of the avant-garde art movement ‘Situationist International’. This cinematic essay uses their method of ‘détournement’ to decontextualize and rearrange preexisting audiovisual materials and texts to critizise them and create new meaning. The result is a subversive collage of ideological (moving) images from socialist and capitalist societies that are presented here as artefacts of a global media ‘spectacle’: Social relations between people are mediated by artificial images and false representations that transform humans into mere passive consumers and ‘spectators’ of their alienated existence. Guy Debord’s motivation was to create a radical social critique and a disruptive, anti-illusionist cinema as an antidote and revolutionary tool against the dominant cultural and sociopolitical forces of his time.Read More »

Quote:
Plot: Jacques spends his summer vacation with his grandfather, Jericho, in the company of his wife Marie. The malicious ancestor quickly realizes that his grandson’s marriage is on the brink of breakdown. He does everything to save him.Read More »

With a blend of harsh realism and aching humanity, Héctor Babenco’s international breakout Pixote offers an electrifying look at youth fighting to survive on the bottom rung of Brazilian society, and a stinging indictment of the country’s military dictatorship and police. In a heartbreaking performance, Fernando Ramos da Silva plays a young boy who escapes a nightmarish reformatory only to resort to a life of violent crime, even as he forms a makeshift family with some fellow outcasts. Abandoned by those that were meant to protect them, they are forced to survive with the only economies open to them: sex and drugs.Read More »