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The year is 1974. A group of five close friends are heading through the back roads of Texas en route to their grandfather’s potentially vandalized grave. Among them are Sally Hardesty, and her invalid brother Franklin. They encounter an unpleasant hitchhiker (Neal) who slashes both himself & Franklin with a wicked-looking knife. The others manage to eject the hitchhiker from the vehicle, but shortly after wards, they are forced to stop & wander over to a small, sinister clapboard house nearby in hopes for gas. What none of them realize is that this house is the home of the ghoulish Leatherface (Hansen) and his evil, demented family of cannibalistic psychopaths. One at a time, the teens are murdered by the evil Leatherface in horrifying ways. Sally soon finds herself an involuntary guest at Leatherface’s home, and flees into the night to escape the demented cannibal and his loudly-buzzing chainsaw. Can she escape the grim fate that befell her friends & brother? Based on the terrifying true story of Ed GeinRead More »

In 2 or 3 Things I Know About Her (2 ou 3 choses que je sais d’elle), Jean-Luc Godard beckons us ever closer, whispering in our ears as narrator. About what? Money, sex, fashion, the city, love, language, war: in a word, everything. Among the legendary French filmmaker’s finest achievements, the film takes as its ostensible subject the daily life of Juliette Janson (Marina Vlady), a housewife from the Paris suburbs who prostitutes herself for extra money. Yet this is only a template for Godard to spin off into provocative philosophical tangents and gorgeous images. 2 or 3 Things I Know About Her is perhaps Godard’s most revelatory look at consumer culture, shot in ravishing widescreen color by Raoul Coutard. (Criterion)Read More »

from Imdb, written by Su Friederich herself

Through a series of twenty six short stories, a girl describes the childhood events that shaped her ideas about fatherhood, family relations, work and play. As the stories unfold, a dual portrait emerges: that of a father who cared more for his career than for his family, and of a daughter who was deeply affected by his behavior. Working in counterpoint to the forceful text are sensual black and white images that depict both the extraordinary and ordinary events of daily life. Together, they create a formally complex and emotionally intense film. Written by Su Friedrich

By Fred Camper
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Plot Synopsis
“Victorian gothic melodrama based on the novel by Sheridan Le Fanu from a screenplay adapted by Aldwych farceur Ben Travers. This creepy chiller is saved from the doldrums by Robert Krasker’s atmospheric cinematography, and fine performances from the ensemble cast. The BBC later filmed the story for television in 1987.

In 1845, 17-year-old Caroline (Jean Simmons) is nursing her dying father. He has enough faith in the reform of his reprobate brother, Silas (Derrick de Marney), suspected but in the clear of murder, to place her under his wing after his death. The hitherto naïve heroine soon learns that scheming Uncle Silas is planning to kill her in order to get his hands on the family fortune, aided by the equally corrupt governess Madame de la Rougierre.” – britmovie.co.ukRead More »

Marock is the 2005 Moroccan film by the female Muslim director Laila Marrakchi. The movie was very controversial as it deals with a Muslim/Jewish love between two high school mates, Rita and Youri. The film was 2006’s most successful film in Morocco, scoring more than 3 million dirhams at the Moroccan box-office, according to TelQuel.
The film was shown in Moroccan cinemas without being edited or censored.[citation needed] The title Marock is a play on words based on the French name of Morocco Maroc and Rock as in Rock’n Roll.

The universal language of youthful rebellion takes center stage in director Laïla Marrakchi’s tale of a Moroccan Muslim teen who falls for a handsome and progressive-minded Jewish boy. High school is drawing to a close for 17-year-old Rita (Morjana Alaoui) and her carefree friends, and as the footloose girls pound the pavement of Casablanca’s Anfa district, it seems that their summer of fun is already well under way. When Rita meets fun-loving Youri (Matthieu Boujenah) and the pair hit it off, her liberal Muslim family’s open-minds soon begin to close when they discover that their daughter’s new boyfriend is Jewish.Read More »

SYNOPSIS
Silvia Hacherman (Mimsy Farmer) is an industrial scientist who is completely devoted to her job. She has been going out with the handsome Roberto (Maurizio Bonuglia) for a little over four months, but he is understandably perturbed by the fact that she seems to value her work more than him. One night, while attending, with Roberto, a party at the home of a renowned African professor (Jho Jenkins), his discussion of voodoo rituals and human sacrifices seems to unroot a memory deeply buried within her psyche. She begins to hallucinate, seeing disturbingly vivid images of her mother, who died under uncertain circumstances. As the hallicunations become more frequent and more lifelike, Silvia begins to lose her grip on reality as her sanity slips away… Throw into the mix phantom girls, grisly murders, mysterious gift shops and a possible conspirary involving her boyfriend, and you have the makings of an incredibly baffling psycho-shocker that, while following some of the giallo genre’s conventions, is too anarchic a piece to fit comfortably into that particular category.
Michael Mackenzie on The Digital FixRead More »

The Limits of Control is the new movie from filmmaker Jim Jarmusch (Broken Flowers, Down by Law).
The film is set in the striking and varied landscapes of contemporary Spain (both urban and otherwise).
The location shoot there united the writer/director with acclaimed cinematographer Christopher Doyle
(In the Mood for Love, Paranoid Park).

Isaach De Bankolé stars in the lead role for Mr.
Jarmusch; this marks the duos fourth collaboration over nearly two decades, following Night on Earth,
Ghost Dog: The Way of the Samurai, and Coffee and Cigarettes.
The Limits of Control also features several other actors with whom Mr.
Jarmusch has previously worked, including Alex Descas, John Hurt, Youki Kudoh, Bill Murray, and Tilda Swinton;
and actors new to his films, including Hiam Abbass, Gael García Bernal,
Paz De La Huerta, Jean-François Stévenin, and Luis Tosar.

The Limits of Control is the story of a mysterious loner (played by Mr. De Bankolé),
a stranger, whose activities remain meticulously outside the law. He is in the process of completing a job,
yet he trusts no one, and his objectives are not initially divulged.

His journey, paradoxically both intently focused and dreamlike,
takes him not only across Spain but also through his own consciousness.
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As great as it is merciless, a film that inevitably precipitates violent disagreements, Fox and His Friends (the rhyming German title of which roughly translates as Fists of Freedom or, better, Might Makes Right) is the male mirror of The Bitter Tears of Petra von Kant: a portrait of class exploitation and emotional sadomasochism amongst a group of homosexuals. Fassbinder plays Fox, a carnival entertainer who wins a lottery and thereby becomes an alluring object of desire for an antiques dealer who is on the verge of bankruptcy. The posh businessman takes the naïve carnie as his lover and introduces him to the world of Munich’s upper-crust gays, with tragic results.Read More »

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Oriental Elegy (1996). Visually impressionistic, atmospherically dense, and narratively opaque, Oriental Elegy is the surreal journey of a displaced spirit (Aleksandr Sokurov) as he wanders in the interminable darkness through the temporal landscape of a quaint and isolated feudal-era fishing village. Guided by a series of faintly illuminated rooms, the wandering spirit comes upon ancient souls who take on physical forms as they recount their personal stories of daily existence, loss, and tragedy in the peasant community. Intrigued by his initial visit to a curiously distracted elderly woman, the spirit returns to her home in order to ask a fundamental question – “What is happiness?” – an existential query that is innocently answered with innate humility and accepted unknowingness. Through abstractly textured imagery and indelibly hypnotic dreamscapes, Sokurov composes a metaphoric, sensual, and evocative tone poem on a soul’s search for enlightenment and the essential survival of human consciousness.Read More »