In the capital of Transylvania, Cluj-Napoca, Orsolya serves as a bailiff. She has to evict a homeless guy from a cellar one day, which has disastrous results and sets off a moral problem that Orsolya must try to resolve.
1 win, 2 nominations.
2025 Winner Silver Berlin Bear
Best ScreenplayRead More »
letterboxd:
HIDEO, It’s Me, Mama is a psychological melodrama that introduces narrative and structural devices that are integral to Idemitsu’s work. Exploring the flawed universe of the contemporary Japanese family, she focuses on a woman’s identity as mother through mother-child and husband-wife relationships. Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. In a cogent metaphor for familial relations in the media-saturated culture of contemporary Japan, Mama can only communicate with her beloved, absent son through the video screen. Idemitsu’s poignant irony is embodied in the scene in which Mama, blind to her husband’s needs, caresses Hideo’s video image. (Electronic Arts Intermix) Read More »
Synopsis:
Milo tries to be a family man and run his criminal organization, but a wrong drug shipment endangers everything.Read More »
Commissioned by the Porto City Council, Painéis do Porto is a visual essay on the city, gathering sequences filmed between the river and downtown, commented with poems by authors like Vasco de Lima Couto, Egito Gonçalves, Rosália de Castro, Pedro Homem de Mello, Fernando Pessoa and Reis himself.Read More »
SYNOPSIS:
A naively honorable samurai comes to the bitter realization that his devotion to moral samurai principles makes him an oddity among his peers and a very vulnerable oddity in consequence.Read More »
A nasty schoolgirl does what she pleases, under the protection of her father, who is the school principal. Another girl is not so nasty, but she is determined and tough enough to contest the girl’s gang in a democratic vote – and win. That causes her trouble in school, just when her own father, who owns a truck transport company, is murdered in a fake car accident by an American mobster. Before the girl can react, her naive mother has signed over the company to the mobster, and accepted him as her lover. Repentant, the mother starts drinking, and the good schoolgirl ties up with a halfbreed young man, who also has a grudge against Americans. He starts spying on the gangsters, discovers they are dealing in drugs, but is killed before he can report it. The good girl will lead her team in a desperation assault on the mobsters – and the police will eventually arrive just in time for the showdownRead More »
Quote:
The film portrays unemployed people who buy cheap fruit and vegetables at the wholesale market to resell them on the streets of Frankfurt. Without police permission, the traders are constantly on the run with their wooden carts. Parts of the film were shot at the fairground next to the wholesale market hall. Newspaper and lottery ticket sellers, propagandists offering their wares for a few pennies, convey the mood of a time when hardship made people inventive.Read More »
A female plays a race car driver lends her services to the Japanese Secret Service. She goes in pursuit of a cartel of drug runners and assorted Japanese Yakuza types.Read More »
Mathieu Kassovitz took the film world by storm with La haine, a gritty, unsettling, and visually explosive look at the racial and cultural volatility in modern-day France, specifically the low-income banlieue districts on Paris’s outskirts. Aimlessly passing their days in the concrete environs of their dead-end suburbia, Vinz (Vincent Cassel), Hubert (Hubert Koundé), and Saïd (Saïd Taghmaoui)—Jewish, African, and Arab, respectively—give human faces to France’s immigrant populations, their bristling resentment at their marginalization slowly simmering until it reaches a climactic boiling point. A work of tough beauty, La haine is a landmark of 1990s French cinema and a gripping reflection of its country’s ongoing identity crisis.Read More »