Kosmos is a thief who works miracles. He arrives in this timeless border town from the wilds weeping, as though a fugitive. No sooner is he there than he rescues a small boy from drowning in the river, and is recognized as a man who works miracles.

Kosmos, is a rather uncommon person. He never appears to eat nor sleep. His single form of nourishment is the granulated or lump sugar he consumes by the fistful. One of his more striking skills is the ability to scale the tallest trees with uncommon agility. He is also frank in declaring his wish that startles the townspeople: He is looking for love. Soon Kosmos and Neptun, the teenager sister of the rescued boy, grow closer in the most bizarre of ways: imitating the screech of birds in trees and on rooftops.Read More »

Introduced separately, the protagonists are clustered into three groups. In the first, college-aged, cheerful Merdad and more serious-minded friend Ali are sneaking two pint-size cousins out of Iran to reunite them with refugee parents already in Austria.
In the second group, Lale and Hussan travel over the mountains by foot with their own young son, hoping to find European asylum from political persecution. After some tense moments, these first two groups find themselves safely –for the moment — across the border, in the same car driven by a kindly coyote.
In Ankara, they soon discover such friends are hard to find. Turkish cops and Iranian secret police are on the prowl for illegals; even the manager at the hotel where the protags are housed turns out to be an informant.Read More »

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A high school graduate, Yusuf could not pass the university entrance exam. Writing poetry is his greatest passion and some of his poems are being printed in various obscure literary journals. But neither these poems, nor the rapidly falling price of the milk they sell, are being of any benefit to Yusuf and Zehra’s lives. When Yusuf finds out about Zehra’s secret affair with the town’s stationmaster he gets disconcerted. Will he find the way to cope with his anxiety for the unknown future, the rapid change that he is going through and the pain of taking a step into adulthood and leaving his youth behind?Read More »

Synopsis

You know you’re in Turkey when, before the opening credits, Spider-Man buries a saucy wench in the sand at the beach, then has his henchmen back a boat propellor into her face! No, friends, your friendly neighborhood Spider-Man just ain’t that friendly anymore. Instead, he’s a psychotic mob boss. And when there’s a psychotic mob boss that needs taking down in Turkey, there’s only one man to call—Captain America.

You might remember actor Aytekin Akkaya from Turkish Star Wars. Here he rises to the spotlight as the heroic lead. In a heart-wrenching performance, Akkaya conveys with an unnerving subtlety the true spirit of a Captain America who is both Turkish and lacking in shield. While the sinister Spider-Man is busy strangling women to death in the shower and putting rats down tubes to eat his captives’ faces off, Captain Turkish America recruits Mexico’s national superhero, Santo, to aid him in his quest to rid Turkey of the webbed menace once and for all. Santo’s a gimp-masked superhero who’s also a wrestler. You almost wish Spidey had a mask like that though, so you wouldn’t have to see his truly Turkish eyebrows.Read More »

The Image Makers (Swedish original title: Bildmakarna) is a 2000 Swedish TV drama directed by Ingmar Bergman and written by Per Olov Enquist.The play was originally written for and staged by the Royal Dramatic Theatre (featuring the same cast), where it premiered on Feb 13, 1998 (directed by Bergman). Following the success of the stage production, it was adapted for Swedish television (SVT) in 2000 with Bergman as a director.The Image Makers portrays an odd meeting of four great Swedish artists: author Selma Lagerlöf, actress Tora Teje, film director Victor Sjöström and film photographer Julius Jaenzon. The drama is set in the year 1920 at Swedish Filmstudios where the great silent film director Victor Sjöström is shooting the silent film The Phantom Carriage, an adaptation of Lagerlöf’s popular novel Körkarlen. He has now invited the book’s grand authoress to take a first look at some early scenes…Read More »

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From the blurb

Pu was born into a stormy household. The courtship and early years of his parents’ marriage are already described in Ingmar Bergman’s novel The Best Intentions. And in Sunday’s Child the eight-year-old boy is all too alert to the recurrent quarrels resounding through the thin walls of the parental bedroom: his daunting father (a priest) and his adored mother, he realises to his terror, no longer want to be together.Read More »

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Shot on the film’s set, gives a fascinating insight into the making of Nostalghia and includes interviews with Tarkovsky, the cast and crew.Read More »

László Szabó is mostly famous as actor : his filmo as an actor is like a best of the so-called french new wave from the early 60s up to now, or something like that…he also directed a very few films himself, in Hungary (his homeland) and in France.

the AMG clerk wrote :

“An enigmatic man, blind in one eye […] is the hit man in this French thriller. The films opens with this man, in dark glasses, walking into a bar and shooting a barkeeper. With the help of an unscrupulous doctor, the gunman has donated one of his eyes to a government official who is sitting in the bar at the time. As the film proceeds, he is shown receiving training in shooting at targets using sound, alone. As the gunman continues his devastating activities, it appears clear that his actions are part of an elaborate conspiracy by high-ranking government officials.”Read More »

This triptych of tales set in the titular city of Tokyo suggests an Eastern version of NEW YORK STORIES, but there is a significant difference: in this case, none of the three writer-directors (two French and one Korean) are natives; consequently, their short films emerge less as love letters to the city than as skewed points of view from outsiders looking in on what what they consider to be a strange, exotic land, bordering on a freak show. With their surreal touches, fanciful symbolism, and at least one outright refernce to Japanese kaiju cinema, TOKYO! emerges as a boderline genre effort – not quite a fantasy film but definitely a curious piece of cinefantatique. Unfortunately, the weirdness is not always entertaining – in some cases it is merely boring – but there is enough going on to make this interesting for fans of art house cinema.Read More »