Neurosia is the autobiography of the director Rosa von Praunheim. The movie begins with Rosa presenting his autobiography in a movie theater. Before the film begins, he is shot. But – his body gets lost. A female journalist from a TV station begins researching the life of Rosa. In the course of the movie she speaks to lots of aquaintances, shows short clips from Rosas old movies. Her main aim is to provide sensational and shocking details from Rosas life. It turns out that nearly everybody had some reason to kill Rosa. At the end of the movie, she discovers Rosa at a boat where he is kept prisoner by some of his old enemies. She frees him, and the movie ends.Read More »

A poor but great violinist is invited to stay at an aristocrat’s house. It is based on a short story by Lev Nikolaevic Tolstoj.Read More »

This movie is about one of the worst periods for the Brazilian people. Shows the days of military dictatorship when the Brazilian people against the government were put in jails, tortured, and some of them assassinated by the military and para-military people. At the same time, the same government censored the press and didn’t allow anything but news about three times-champion soccer team. While the people made parties, etc for the soccer team, in the underground, people suffered all kinds of torture.Read More »

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A wild short made as part of a filmmaking workshop that Raúl Ruiz ran in Bogotá in October 1993.Read More »

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In the 1950s two films were directed by a woman [in Sweden, the other one being Mimi Pollaks Rätten att älska]. Barbro Boman had worked as a production assistant in the 1940s after which she wrote scripts herself and was also head of Svensk Filmindustri’s script department for a period. She directed two films, of which It’s Never Too Late (Det är aldrig för sent) (1956) was her first. It tells the story of a couple who are planning to divorce. The film is based on flashbacks that recount three generations of women: the main character Görel, her mother and grandmother, and their methods of solving their problems. As a new director, Boman was treated well and the reviewers wished her the best for the future.

Nordic National Cinemas (1998)Read More »

Dorothy Arzner’s “The Wild Party” was a Clara Bow star vehicle and Paramount’s very first talking movie. Set in an all-girls’ school, the film has a routine, all-too familiar scenario, but it was fun to watch because of its leading lady.Read More »

This is a western like no other, combining the mythological scope of that most American of genres with the searing naturalism of a performance by Marlon Brando—all suffused with Freudian overtones and masculine anxiety. In his only directing stint, Brando captures rugged coastal and desert landscapes in gorgeous widescreen, Technicolor images, and elicits from his fellow actors (including Karl Malden and Pina Pellicer) nuanced depictions of conflicted characters. Though the production was overwhelmed by its director’s perfectionism and plagued by setbacks and studio reediting, One-Eyed Jacks stands as one of Brando’s great achievements, thanks above all to his tortured turn as Rio, a bank robber bent on revenge against his former partner in crime. Brooding and romantic, Rio is the last and perhaps the most tender of the iconic outsiders that the great actor imbued with such intensity throughout his career.Read More »

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Structured in elegantly fluid and elliptically interconnected episodes from a roving, multiple student point-of-view, Elephant is an incisive and poetic, yet relevant and deeply disturbing portrait of the unfolding of a fictional, modern-day high school massacre in suburban America. Van Sant presents a richly textured and complexly interwoven series of mundane student interactions and astute slice-of-life observations (except for a scene of sexual experimentation between the plotters that seems improbably out of character) that are intrinsically linked together through long and sinuous tracking shots of the school’s cold and impersonal labyrinthine corridors and rooms. Inevitably, what emerges is a profound sense of alienation and the oppressive, inescapable, and moribund institutionalization of its adrift and desperate characters.Read More »

Kato (Ittoku Kishibe) is a small time TV producer. He has a wife Masako (Naoko Otani), and a young son Taro. Kato also has a friend Yamazaki (Akira Emoto) who he knew since college. Yamazaki has a girl friend Riko (Eri Ishida) who lives with her younger sister Yuko (Hitomi Takahashi) who’s an actress. Yamazaki is a lyric writer/womanizer and he starts to have an affair with Masako, but he’s still going out with Riko.Read More »