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In early spring of 1966, in anticipation of his eventual departure from the Greenwich Village apartment in which he had been living for a number of years, [Markopoulos] filmed the revelatory seven-minute interior portrait Ming Green , titled for the deep spruce color of the apartment’s walls. Ming Green was edited entirely in-camera, and its precise rhythmic blossoming is based on overlapping dissolves and longer flashes, rather than single-frame clusters. The film’s complex harmonic structure, however — as well as its incorporation of often static, “single” images that may be comprised of more than one frame — echoes the montage techniques developed in Twice a Man (1963). Interweaving mementos with foliage, color, and light, Ming Green suggests the inextricability of past and present: despite its exquisite lightness, it could represent the passage of hours and days rather than minutes. -Kristin Jones, Millennium Film Journal, 1998Read More »

A man falls in love with a stranger woman. The woman has her young lover whom she secretly dates in an uninhabited house. The man discovers that the subject of his affection is in fact his friend’s wife and in despair takes his own life.Read More »

Two killers revenge a wirepuller of the underworld in Yokohama.

Almost no information online.Read More »

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Marty is a caustic, small-time con artist drifting from one scam to the next. When his latest ruse goes awry, mounting paranoia forces him from his lousy small town temp job to the desolate streets of Detroit with nothing more than a pocket full of bogus checks, a dangerously altered Nintendo® Power Glove, and a bad temper. Albert Camus meets Freddy Krueger in BUZZARD, a hellish and hilarious riff on the struggles of the American working class.Read More »

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Born in 1901, Mikhail Romm took part in the Bolshevik Revolution, the Civil War, and World War II. His landmark films Nine Days of One Year (1961) and Ordinary Fascism (1965) embodied the intellectual discourse and discontent of the 1960s, influencing an entire generation of Thaw filmmakers, including Andrei Tarkovsky, G. N. Chukhrai, Marlen Khutsiev, and Elem Klimov. Following Romm’s untimely death during the making of …And Still I Believe, his former students Khutsiev and Klimov completed this remarkable film montage, a personal journey across 20th-century history and the clash of civilizations told, in part, through Romm’s own diary entries and gripping historical footage.Read More »

UFOs appear on Earth, and people who actually see them suddenly find that their blood has turned blue. Soon panic and hysteria result in the new “blue-bloods” being persecuted by the rest of mankind, and eventually certain all-too-familiar measures begin to be taken against them.Read More »

It All Started At the End is the self-portrait of the “Grupo de Cali”, also known as “Caliwood”, a group of cinephiles, who in the midst of the wild partying and historical chaos of the 70s and 80s, managed to produce a body of work now considered a fundamental part of Colombia’s film heritage. It is also is the clinical history of the filmmaker, who fell gravely ill during the production of the film. It’s the story of a survivor.Read More »

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An adults-only entry to Hong Kong’s new-wave film movement, House of the Lute is elegant and engaging. The classy production is accompanied at all times by sounds of a lute – a dynamic instrument adding audio punctuation marks and exclamation points throughout the course of the story. A television set features prominently in the second half and adds interest. Aside from providing the advertising spiel for the famed Darkie toothpaste brand, the TV also brings additional issues to the screen. It appears no coincidence that a forced sex scene between Shek and a less-than-willing Mrs Lui plays against a news report of Hong Kong’s rising social ills, notably rape and murder. Later, a local farmer brushes aside books and smashes away antique pottery to better view the TV – akin to how Hong Kong has bulldozed heritage in its hurtling drive for urban modernity. House of the Lute lends itself well to retrospective viewing.Read More »

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The topic of the film is Alois Brummer, a likeable and inoffensive man from Lower Bavaria, a sex film producer. A man, small and round in stature, unusually active, with a nose for the market, dealing in films and girls in his own special manner in Bavaria – as another man would deal in used cars. There are worse things in our market-oriented society and in film as well. The film describes a forgotten or neglected form of triviality.Read More »