Plot Synopsis: Yor, an extremely blond prehistoric warrior, comes to question his origins, particularly with regard to a mysterious medallion he wears. When he learns of a desert goddess who supposedly wears the same medallion, Yor decides that he must find her and learn his true identity. Along the way, he encounters ape-men, dinosaurs, and a strange futuristic society.Read More »

SPOILERS

Lynn Markham (Crawford) visits a beach house that once belonged to her dead husband. There, she meets real estate agent Amy Rawlinson (Jan Sterling) and Drummond “Drummy” Hall (Chandler), an attractive beach bum who wanders in and out of the house as though he owned it.

Lynn learns the house was once rented to Eloise Crandall (Judith Evelyn), an older woman whose cause of death (suicide, accident, or murder) remains undetermined. Lynn later discovers “Drummy” is the accomplice of card sharps Osbert and Queenie Sorenson (Cecil Kellaway and Natalie Schafer), and that he heartlessly pursued Crandall in order to set her up for card games with the Sorensons.

Lynn’s physical attraction to Drummy is overpowering and she marries him. Events on their honeymoon lead Lynn to believe he murdered Eloise. It transpires, however, that Amy Rawlinson killed Crandall because she wanted Drummy for herself.Read More »

Quote:
Yvan and Elie are two loners who wander aimlessly through their lives. Yvan is a quick-tempered 40-year-old vintage car dealer while Elie is a young burglar and ex-junkie. One day Yvan catches Elie trying to rob him. Instead of beating him up, he becomes strangely attached to him and agrees to drive him home to his parents in his old Chevrolet. Yvan and Elie are both nostalgic about lost relationships, which is what leads them to undertake a bizarre journey through a region that is as spectacular as it is crazy. Both are trying to find the pieces of a puzzle that they want to put back together, but it might be too late.
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Quote:
Marfa exists at a particular cultural nexus with a constant clash between the art community (inspired to come to Marfa by the American sculptor, Donald Judd), the white community and the Mexican American community. On top of that theres a smothering Border Patrol presence despite the fact the Mexican border is 68 miles away. There is an 11pm curfew for teenagers and they still have corporal punishment in the schools. They paddle kids in school from kindergarten through high school.Read More »

Synopsis
It’s summer and a young foreigner saunters through the streets of this city of street cars and canals.
A lone wanderer, the hypotheses surrounding him will be changing: An artist, at leisure, a simple tourist, a parasite, paranoid, in love…?
Lodged at an old, family-run hotel, he walks through the city, observing, writing and drawing –sketching gestures and expressions caught at random on the street.
In the evenings he haunts a night club called “Les Aviateurs”.
He peers through the open windows of certain façades.
He revisits one of them at different times of day, here and there making out minor domestic contents, more insinuated than seen.
A certain mystery floats over the nature of his intentions, with attitudes reminiscent of those of a voyeur or even a psycho-killer…Read More »

Quote:
A sound engineer’s work for an Italian horror studio becomes a terrifying case of life imitating art.Read More »

Synopsis
An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter.
Festival de Cannes.com

Reviews
According to Martin Scorsese, “cinema is a matter of what’s in the frame, and what’s out.” The Iranian filmmaker Abbas Kiarostami applies this axiom with particular rigor. In the first scenes of Mr. Kiarostami’s latest feature, “Like Someone in Love,” we are very much aware of what is not in the frame. We are in a Tokyo bar, listening to a series of conversations that involve a woman we cannot see… he structure of the film is, by Mr. Kiarostami’s standards, fairly straightforward, even conventional: it has a teasing start, an expository middle and a startlingly (though not unpredictably) dramatic end. And yet every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.
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Based on a play by Charles Méré, the 1926 French production Le Vertige was released in the U.S. two years later as “The Living Image”, or “The Lady of Petrograd”. The film opens with the overthrow of the Czar during the 1917 Russian revolution. The family of General Count Svirsky (Roger Karl) cower in their home, certain that the mobs of angry peasants will tear them apart. But even in this moment of crisis, Svirsky can find time to murder the young officer who has been having an affair with Countess Svirska (Emmy Lynn). The Countess knows what has happened, but she loyally remains with her husband as they escape to the safety of the French Riviera. It is here that the Countess meets Henri de Cassel (Jaque Catelain), the “living image” of her dead lover. Once again, the General prepares to shoot the Countess’ paramour in cold blood — but this time, the outcome is quite different.From Hal EricksonRead More »

Crime reporter Jack Moir is framed by crooked nightclub owner, ‘The Duke’. In prison, Moir
plans his revenge.Read More »