Synopsis:
“A forty-something antiques dealer, Pierre Noix is a busy man, in just about every aspect of his life. Having bought a large house in Provence built on the remains of a Roman structure, he wastes no time digging around for some long lost treasure. Pierre’s plans are threatened, first by the town’s mayor, who is about to authorise the construction of a motel in the area, and then by Edwige, the daughter of the previous owner of the estate. When Edwige queries the legitimacy of the sale, Noix responds by seducing and marrying her, all in record time. Unfortunately, his troubles are far from over…”
– Films de FranceRead More »

The Sacrifice, director Andrei Tarkovsky’s final film, begins in Bergmanesque fashion on a small, remote island, where friends and family gather for drama critic Alexander’s (Erland Josephson) birthday celebration.

The revelry is interrupted by a radio announcement: World War III has begun, and Mankind is only hours away from utter annihilation. Each of the guests reacts differently to the news: the most dramatic response is Alexander’s, who promises God that he’ll give up everything he holds dear – including his beloved 6-year-old son – if war is averted. Allan Edwall, a local mailman with purported mystical powers, offers to intervene with the Creator on Josephson’s behalf.Read More »

Yuri and Takumi are brother and sister who faced unusually harsh treatment by their father. An act of brutality keeps them extremely close together until an older couple occupy the house where their secret was buried.Read More »

Variety review :
“Is Gallic helmer Jean-Stephane Sauvaire hooked on violence? Almost everyone appearing in his documentary “Carlitos Medellin” was dead by the time it was edited, while his fictional “Johnny Mad Dog” headlined a murderous child soldier. Next to these earlier offerings, the violence in “Punk” seems relatively mild, though the rage and frustration fueling its teenage protagonist fairly explode off the screen. Released in France as a TV movie under another title, this vibrant evocation of the contemporary European punk scene impresses, but looks oddly, unavowedly time-warped, as if unfolding in punk’s ’70s/’80s heyday, considerably lessening distrib possibilities.Read More »

Situated in the vein of Rimbaud, Lautréamont, Dostoievski and Benjamin and of free jazz and punk, this film bears witness to the iniquitous policies that shape our era, the “infernal” nature of certain political lives or black bodies (those of immigrants, emigrants, workers, the unemployed, students…). It operates, as a minority film, in a critical stasis of mythical and mainstream realities, and deals with the issue of revolt and insurrection: excesses, disidentification, unclear reconfiguration… We are presented, through a dialectical reversal, “non-places” that cannot be assimilated, utopias, corps-impossibles.Read More »

Review by TV Guide
Of the six films Eddie Cantor made for Samuel Goldwyn, Roman Scandals was his fourth and second only to The Kid From Spain in popularity. When Goldwyn’s idea to adapt George Bernard Shaw’s “Androcles And The Lion” as a vehicle for Cantor proved too difficult, the producer hired Robert Sherwood and George S. Kaufman to fashion a story that would take Cantor to imperial Rome. Displeased with their draft, Goldwyn brought in Nat Perrin, George Oppenheimer, and Arthur Sheekman to add jokes, and William Anthony McGuire to get the whole thing into shape for shooting. This film turned out to be one of the best Cantor-Goldwyn associations. With humor, music, and more than a little female flesh, Roman Scandals is a sort of Wizard of Oz in that Cantor, a wacky delivery boy in West Rome, Oklahoma, goes into a dream sequence and imagines himself to be a slave in old Rome.Read More »

This highly kinetic tableaux of uprooted sights and sounds works most earnestly to expose the racial biases concealed in familiar images. Relying on valuable snippets from feature films such as “Exodus”, “Lawrence of Arabia”, “Black Sunday”, “Little Drummer Girl”, and network news shows, the filmmakers have constructed an oddly wry narrative, mimicking the history of Mid East politics.Read More »

Synopsis:
Rare is the film in movie-history that can announce the entire movement of it’s ‘plot’ with its title alone. But Pialat’s second feature, Nous Ne Viellirons Pas Ensemble does exactly that, encapsulating all the turmoil, and the final end-point, of a couple who among themselves once made a commitment – and living together will come to make another one yet. Jean (Jeane Yanne, of Godard’s Weekend) and Catherine (Marlene Jobert, of Godard’s Masculin Feminin) are the couple whose every move charts an advancement deeper into an emotional warzone. Theirs is the classic and the tragic case of an emotional abuse centered around a perplexing, but powerful, interdependency. Read More »

The film was inspired by Jure Kaštelan’s famous war poem Tifusari. Aleksandar Marks’s woodcut-style drawings graphically depict hallucinations of sick partisans marching through wastelands.Read More »