Max Ophuls’ first American film. Fired by Howard Hughes after falling behind schedule, Ophuls was replaced by Preston Sturges, who had written the script. Sturges was then fired also. Over the next four years, Hughes tinkered incessantly with the project, and an array of writers and directors had their way with it. Finally editor Don Siegel attempted to put the thing together and make sense of it.

So the movie is messy but with stunning sequences. Most sources credit Mel Ferrer with directing the ending, but it’s clear he only shot the leaden coda. The actual climax is a beautifully orchestrated, stunningly lit stalking scene with the principal characters hunting each other through a misty wood. Absolutely beautiful, and if this is what made Ophuls go over schedule, as seems likely, he was right to take the time to get it looking this amazing.Read More »

In this inspired, genre-twisting new film, Oscar®-nominated writer/director Sarah Polley discovers that the truth depends on who’s telling it. Polley is both filmmaker and detective as she investigates the secrets kept by a family of storytellers. She playfully interviews and interrogates a cast of characters of varying reliability, eliciting refreshingly candid, yet mostly contradictory, answers to the same questions. As each relates their version of the family mythology, present-day recollections shift into nostalgia-tinged glimpses of their mother, who departed too soon, leaving a trail of unanswered questions. Polley unravels the paradoxes to reveal the essence of family: always complicated, warmly messy and fiercely loving. Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the …
Written by The National Film Board of CanadaRead More »

During the Iran-Iraq war, Reza’s wife gives birth, and dies soon afterward. Reza is taken as POW. Shokooh finds Reza’s baby and raises her as her own. Many years later, Reza find’s his daughter again….Read More »

Running in from seemingly nowhere, Micky Dolenz, Davy Jones, Michael Nesmith & Peter Tork – better known collectively as The Monkees – disrupt a bridge opening ceremony. From where and why did they come to disrupt the proceedings? They were filming a series of vignettes in several different genres, including a wild west sequence, a desert war sequence, a Confederate war sequence, and a science fiction sequence. They disagree with much of what is happening around them, and try to figure out how to escape the oppression they feel – symbolized by a big black box in which they are seemingly imprisoned – by the forces around. That oppression is often shown in the form of “The Big Victor Mature”.Read More »

Quote:
The initial idea for the film came from a specific reference to a cousin Angélica, in a scene from Ana and the wolves (Spanish: Ana y los lobos), director Carlos Saura’s previous work. In Ana and the wolves there is an inconsequential bit of dialogue that occurs in the private conversation between the family matriarch and the title character. The old woman speaks of a certain cousin Angélica who, as a small child, coquettishly played with one of her sons. Building on that allusion, Saura and writer Rafael Azcona developed a script about the childhood memories of a man now in his mid forties and his flirtatious cousin, Angélica, on whom he had a crush when he was ten years old. These memories become the lure for the protagonist’s reencounter of his long suppressed past.Read More »

Experimental war film about two friends who travel back in time to the front lines of the Iran-Iraq War.Read More »

Bitcoin: The End Of Money As We Know It traces the history of money from the bartering societies of the ancient world to the trading floors of Wall St.

The documentary exposes the practices of central banks and the dubious financial actors who brought the world to its knees in the last crisis. It highlights the Government influence on the money creation process and how it causes inflation. Moreover, this film explains how most money we use today is created out of thin air by banks when they create debt.
Epic in scope, this film examines the patterns of technological innovation and questions everything you thought you knew about money.
Is Bitcoin an alternative to national currencies backed by debt? Will Bitcoin and cryptocurrency spark a revolution in how we use money peer to peer? Is it a gift to criminals? Or is it the next bubble waiting to burst? If you trust in your money just as it is – this film has news for you.
(Written by Torsten Hoffmann)Read More »

A man walks, step by step, through the grass, first in black-and-white, later in pale colour. We see nothing of his face, just his boots and legs, clad in camouflage trousers and filmed from above. In the background we can hear machine guns rattling, a squawking walkie-talkie, the drone of an airplane attacking, a long beep and a chord played on the piano. The boots continue to stomp over grass, sand, rock, rusty metal and loose planks. Sometimes they come to a halt before walking on through clear, shallow water. More planks, metal, broken household items, rubble, a blanket, a bicycle, an air duct and a doll. Suddenly, the man’s boots are standing in front of the naked feet of a girl holding a cuddly toy in her hand. An atmospheric, experimental piece, from a country ravaged by catastrophes. Read More »

Cosmotropia de Xam is back with more “arthouse horror” with his latest feature, MALACREANZA: FROM THE DIARY OF A BROKEN DOLL. JASON COFFMAN wrote: This film, his follow-up to DIABOLIQUE, is touted as both “arthouse horror” and “experimental giallo,” and while it is similar in tone to DIABOLIQUE, it is even further removed from standard narrative than that film. MALACREANZA only features one actor on screen during its entire running time, and features imagery more traditionally associated with experimental film than narrative features. Anna (Shivabel) wakes up, nude, near what appears to be an abandoned factory. She wanders around and hears voices that seem to control her. These voices are the only other presences in the film—other than Anna, no actors appear on-screen. The voices taunt and command, as Anna wanders from one bizarre nightmare world to the next, similarly to how the characters in DIABOLIQUE would float from one place to another, but even more abstract in both its narrative structure and visual style.Read More »