Synopsis:
Anura is a loyal soldier tainted by the tedium of a service he has forgotten how to define. His only company at the remote outpost is an alcoholic soldier named Piyasiri, whom he sees in passing as they trade shifts. Anura finds that even the prankish behavior of the infrequently passing soldiers isn’t enough to offset the numbing stillness of his eternal wait anymore. Even at home, the inertia of the emotionless landscape persists, and between disconnected sexual encounters with his disinterested wife, Lata, detached conversations with his single sister, Soma, and the heart-breaking dejection of their young charge, Batti, it appears as if, in this war-torn wasteland, hope is nothing more than forgotten emotion and routine is the only nourishment for a collection of sad, starved souls.Read More »

This film was one of the few attempts of the “New German cinema” to produce something like a horror film. Not quite a successful attempt in my opinion since director Niklaus Schilling seems to be rather afraid of anything to do with “genre” and therefore keeps out most the atmosphere that could be achieved by exploiting Germanic mysticism as he does here. The film has an unpleasantly pretentious aura and could’ve made much more of its theme and locations.Read More »

Synopsis from Women Make Movies:
A tale of two sisters living in the shadow of two Chinas, this documentary by award-winning filmmaker Marlo Poras (Mai’s America; Run Granny Run) follows Juma and Latso, young women from one of the world’s last remaining matriarchal societies. Thrust into the worldwide economic downturn after losing jobs in Beijing and left with few options, they return to their remote Himalayan village. But growing exposure to modernity has irreparably altered traditions of the Mosuo, their tiny ethnic miniority, and home is not the same. Determined to keep their family out of poverty, one sister sacrifices her educational dreams and stays home to farm, while the other leaves, trying her luck in the city. The changes test them in unexpected ways. This visually stunning film highlights today’s realities of women’s lives and China’s vast cultural and economic divides while offering rare views of a surviving matriarchy.Read More »

Quote:
“Les œuvres de Lena Vandrey qui se trouvent au Musée d’Art Brut de Lausanne, acquises par Dubuffet, sont des effigies de femmes, des sortes de déesses, d’amazones, des personnages totémiques d’une grande force d’expression. Elles sont faites de matières très brutes. Ce n’est pas de la peinture illusionniste. Il y a une tension dramatique qui détruit le système de représentation pour créer un contact beaucoup plus charnel avec l’objet” (Michel Thévoz).Read More »

Quote:
From Karel Reisz, the renowned director of Saturday Night and Sunday Morning, Night Must Fall, Isadora, The Gambler, Who’ll Stop the Rain, The French Lieutenant’s Woman and Sweet Dreams, comes this cult classic starring screen great Vanessa Redgrave (Julia, Mary, Queen of Scots) and legendary character actor David Warner (Cross of Iron, Perfect Friday) in one of his few starring roles. A gorilla-fixated artist with distinctly anarchist tendencies, Morgan (Warner) tries to regain the affections of his divorced wife Leonie (Redgrave) by variously kidnapping her, attempting to blow up her future mother-in-law and attacking her fiancé (Robert Stephens, Sherlock Holmes of Billy Wilder’s The Private Life of Sherlock Holmes). Cut with scenes from King Kong and Tarzan films, Morgan’s depiction of madness, dark humor and vintage performances made it one of the wildest, funniest and most provocative comedies of the ’60s. Nominated for two Oscars: Best Actress in a Leading Role (Redgrave) and Best Costume Design, Black-and-White (Jocelyn Rickards).Read More »

A documentary about the early beginning of the deconstructivist era of the architecture flourishing in the 80´ties.
Interviews with Zaha Hadid, Peter Eisenman, Bernard Tschumi, Frank Gehry, Daniel Liebeskind, Derrida, Micheal Sorkin and more.Read More »

Criterion wrote:
Barbara Stanwyck sizzles, Henry Fonda bumbles, and Preston Sturges runs riot in one of the all-time great screwballs, a pitch-perfect blend of comic zing and swoonworthy romance. Aboard a cruise liner sailing up the coast of South America, Stanwyck’s conniving card sharp sets her sights on Fonda’s nerdy snake researcher, who happens to be the heir to a brewery fortune. But when the con artist falls for her mark, her grift becomes a game of hearts—and she is determined to win it all. One in a string of matchless comedic marvels that Sturges wrote, directed, and produced as part of a dazzling 1940s run, this gender-flipped battle-of-wits farce is perhaps his most emotionally satisfying work, tempering its sparkling wit with a streak of tender poignancy supplied by the sensational Stanwyck at her peak.Read More »

A group of juvenile delinquents live a violent and crime-filled life in the festering slums of Mexico City, and the morals of young Pedro are gradually corrupted and destroyed by the others.Read More »

Quote:
Like his last film, 2008’s 24 City, Jia Zhangke’s Un Certain Regard title I Wish I Knew is a documentary/fiction hybrid about modern-day China. Where 24 City took a personal focus on the citizens of a Chinese town affected by the construction of a high-rise condominium, I Wish I Knew takes a broader view, examining the history of Shanghai as viewed from the present. It combines interviews with citizens, actors, and filmmakers with architectural shots of present-day Shanghai and footage of actress Zhao Tao wandering the city. The film is never less than gorgeous, and there’s often an intuitive and pleasing internal rhythm to how he cuts within and between shots.Read More »