Quote:
One of the legendary epics of the silent cinema – and the first part of a trilogy that Fritz Lang developed up to the very end of his career – Dr. Mabuse, der Spieler. [Dr. Mabuse, the Gambler.] is a masterpiece of conspiracy that, even as it precedes the mind – blowing Spione from the close of Lang’s silent cycle, constructs its own dark labyrinth from the base materials of human fear and paranoia. Rudolf Klein – Rogge plays Dr. Mabuse, the criminal mastermind whose nefarious machinations provide the cover for – or describe the result of – the economic upheaval and social bacchanalia at the heart of Weimar – era Berlin. Read More »

Plot:
Eminent Belgrade physician gets murdered. The investigation is revealing dark side of his character – illegal abortions and abuse of his wife. Wife’s lover is becoming the prime suspect. The newspaper reporter, however, starts his own investigation. Besides being crime story, this movie in quasi-documentary fashion presents alternative cultural scene of Belgrade in late sixties. Written by Dragan AntulovRead More »

Without turning his back on his earlier experiments with testing the boundaries, Dwoskin made fictional films, including a superb adaptation of Frank Wedekind’s Tod und Teufel, in which voids and slips are filmed during acts of speech, rather than the characters and their actions.Read More »

Quote:
The action of the film is unfolding not in the real world, but in subconsciousness of the heroine, professor of anthropology.
The woman-anthropologist researches roots of the human evolution. Psychic childhood trauma, caused by the death of her father, the captain of a submarine, in the W.W.II, periodically throws her out of balance. Phantoms of the prehistorical past and father’s violent death collide in the scientist’s subconsciousness and bring to life an unexpected theory of human evolution.Read More »

SYNOPSIS
On a chaotic and congested highway toll interchange, an off-camera toll clerk listens impassively to a humanitarian public service radio broadcast from a Red Crescent spokesperson urging listeners to consider adoption of the many children who have been left orphaned as a result of the recent devastating earthquake in northern Iran. An unnamed, middle-aged film director (Farhad Kheradmand) stops at the tollbooth and inquires about the condition of the main road to Rudbar, having been turned back a day earlier at the intermediate town of Manjil due to the impassability of the route. Accompanied by his son Puya (Puya Pievar), the director is hoping to reach the village of Koker in search of the Ahmadpour brothers: two boys who had appeared in his film, Where is the Friend’s House? (a self-reference to Abbas Kiarostami’s earlier film).Read More »

given how he arrived in the world of film, Dwoskin is usually considered to be an experimental film-maker, which he, like any genuine artist, evidently is, but this attitude leads to a misunderstanding, and makes his films difficult to distribute, because his films are immediatly assumed (in a humdrum, unthinking world) to be primarly dominated by considerations of form rather than substance, and thus not only inaccessible to, but also uninterested in attracting, a broader audience
But Dwoskin words do not bear this out. As early as 1981, he explained how “Behindert was intended for a television audience and it was easier to get my message accross by showing myself directly on screen. My aim is to make films that work both in the cinema and on television”(…)Read More »

The Green Elephant also known as Green Elephant Calf) is a 1999 Russian gore film directed by Svetlana Baskov. The film could not be distributed through the mainstream film circuit in Russia, due to its extremely violent images and obscene language. The International Film Festival Rotterdam programme commented that “Green Elephant is even more urgent because of the escalation of the war in Chechnya and growing criminality in the Russian armyRead More »

Matt Zoller Seitz (The New York Times) wrote:
Elmore Leonard once said that the key to telling an exciting story was leaving out the parts that people skip. The “Don Quixote” adaptation “Quxiotic/Honor de Cavalleria” is composed of little else.

In adapting Miguel de Cervantes’s novel about the senile would-be knight, Don Quixote (Lluís Carbó), and his sidekick, Sancho Panza (Lluís Serrat), the film’s writer and director, Albert Serra, favors landscape imagery and natural sounds over dialogue and music.Read More »

Adapted from Bernstein’s Le Bercail, the film follows Evelyne’s attempt to reconnect with her family after a traumatizing experience with a young writer.

Evelyne Landry, intellectuelle et passionnée, a épousé un homme bon et droit, mais fermé à tout ce qui intéresse la jeune femme. Jacques, écrivain secondaire et arriviste, la persuade de son amour. Elle s’enfuit avec lui abandonnant mari et enfant. Sa liaison ne lui apporte que déception, elle rompt avec Jacques et, repentante, demande son pardon à Etienne Landry qui finit par le lui accorder.Read More »