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Roy Andersson premiered his second feature-length film, “Giliap”, in 1975. The film is a marked departure from “A Swedish Love Story”, and that is no accident. Success brought pressure onto Andersson to make “A Swedish Love Story II”. But he didn’t want to be someone who churned out yet another film in the same spirit, and then one more… So he changed style drastically in “Giliap”. Andersson had great hopes for the film, but it found neither a public nor positive reviews. “Giliap” did, however, win a larger reception abroad, especially in France. Yet despite its meagre successes in Sweden, the film is interesting, not least aesthetically. For here one finds the first seeds of Andersson’s distinctive film style.
In “Giliap”, actor Thommy Berggren plays a wandering day-labourer who takes employment at the fading Hotel Busarewski. The hotel is run by a wheelchair-bound misanthrope who harshly deals out orders to his staff as he reminisces about Busarewski’s former golden days.Read More »

A New York City narcotics detective reluctantly agrees to cooperate with a special commission investigating police corruption, and soon realises he’s in over his head, and nobody can be trusted.Read More »

FILM; A Pioneering Dialogue Between Actress and Image
By J. HOBERMAN

ANDY WARHOL has so become his own trademark — and is so much a one-name synonym for the culture of celebrity — that it can be a shock to realize just how brilliantly original he was as a visual artist. A case in point: The double-screen video-based film installation ”Outer and Inner Space” at the Whitney Museum (through Nov. 30), which places his glamorous, doomed superstar Edie Sedgwick in a dialogue with her own video-taped image.Read More »

Color/Sound/95 mins at 24 fps
(filmed late July 1967)

Tom Baker/Bettina Coffin/Stephanie Graves/Cynthia May/
Ivy Nicholson/Nico/Valerie Solanis/Ingrid Superstar/Ultra Violet

Tom Baker: “The first time I sensed impending danger was during a scene with Ivy Nicholson. She had stipulated that she would not appear on camera with me in the nude. Shortly after the scene began I walked out of the frame and removed the towel I was wearing in order to put on my pants. Clad only in unlaundered bikini underwear, Ivy exploded in an emotional fury and stormed out of the room in tears, claiming she had been betrayed. I was talking with Warhol, who was very much perplexed by Ivy’s behaviour since, as he casually pointed out, ‘Ivy’ll cut her wrists for me…’ My third scene was with Valerie Solanis. I felt no personal threat from Valerie. Just the opposite. I found her intelligent, funny, almost charming, and very, very frightened.” (POP273)Read More »

Will Sloan, UltraDogme.com wrote:
It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that invite us to wonder at a single visual idea (Sleep, Kiss, Eat). Quickly he introduced sound, color, movie stars, and more conventional visual grammar until finally arriving at Andy Warhol’s Bad (1976), which is so close to a “real movie” that Warhol himself had barely anything to do with it. Warhol made Vinyl (1965) at around the midpoint of his stylistic evolution, after his incorporation of sound but before Paul Morrissey’s domesticating influence. I like much of Warhol’s cinema on both sides of this dividing line, but Vinyl for me represents a beautiful moment when the evolution broke down. What if, after cinema’s birth, the medium had developed an entirely different visual language?Read More »

Synopsis
Documentary film on the memories of four children from Eisenhüttenstadt who were all born at the same time the Berlin wall was built.

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1991 stellte der DEFA-Autor Thomas Heise seinen Dokumentarfilm ‘Eisenzeit’ vor, der vier Jugendliche aus Eisenhüttenstadt porträtiert. Der Film zeigt quälend und schmerzlich, wie sie an den Schwierigkeiten mit Staat, Gesellschaft und Familie zerbrachen. Schon 1981 wurde die Idee zum Film geboren, konnte aber aus politischen Gründen nicht umgesetzt werden. Erst zehn Jahre später zeigte der Film die selbstzerstörerische Flucht dieser selbstdenkenden Jugendlichen in Drogen und Selbstmord.Read More »

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A suspected robot and his family are tormented and ridiculed by small-minded townsfolk and harassed by an angry Bulgarian.

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“A weirdly touching parable of human obsolescence…a strange funny, very smart film,” or so said Andy Markowitz of the Baltimore City Paper (which also named it “Film of the Year” in 2002). This film features many cast members who would later be seen in THE GUATEMALAN HANDSHAKE and a portion of its breakdancing scene appears in David Gordon Green’s film, SNOW ANGELS.Read More »

Bambi is contentedly nibbling the grass, seemingly unaware of his impending encounter with Godzilla. What will happen when the two finally meet?Read More »

Aliens arrive on Earth and ask permission to be given a certain tract of land for their people to live on. But when they are discovered to be invaders, responsible for the giant robot that is destroying cities, the armed forces attempt to stop them with every weapon available. -imdbRead More »