A man walks down the exterior staircase of building of flats; he’s dressed to go out, taking care to wrap a scarf around his neck. He pauses as he passes a small window that’s about eye high. He ventures to look in, and there a young woman stands at a washbasin, drying her hair, the towel that obscures her face her only covering. The peeping tom gets an eyeful and smiles; he’s interrupted by a door opening, the flat’s occupant bringing out empty bottles to place on the porch. The man pretends to leave, departing down the stairs, only to return to the window after the flat’s door has closed. He again looks in the window, where a surprise awaits.Read More »

Quote:
Arnulf Rainer’s images are the most ´reducedª of all — this is a film composed entirely of frames of solid black and solid white which Kubelka strings together in lengths as long as 24 seconds and as short as a single frame. When he alternates between single black and white frames, a rapid flicker effect is produced, which is as close as Kubelka can come to the somewhat more rapid flicker of motion-picture projection; during the long sections of darkness one waits in nervous anticipation for the flicker to return, without knowing precisely which form it will take. But Arnulf Rainer is not merely a study of film rhythm and flicker.Read More »

Quote:
Kubelkas achievement is that he has taken Soviet montage one step further. While Eisenstein used shots as his basic units and edited them together in a pattern to make meanings, Kubelka has gone back to the individual still frame as the essence of cinema. The fact that a projected film consists of 24 still images per second serves as the basis for his art.Read More »

Quote:
The film opens with an actress, Leili (Leila Hatami), in the middle of filming a scene for her latest film. We quickly learn she has only recently lost her husband, Koshrow (Ali Mosaffa) under strange circumstances, and the film she’s making is eerily about a woman mourning the loss of her recently deceased husband. However, Leili cannot get around saying a certain line about forgetting the face of her husband. She keeps laughing when she should be crying. Chalking it up to the fact that she’s returned to work too soon, the film set grumbles as Koshrow’s omniscient narration informs us that he’s recently died and there’s a strange turn of events that have led us here…Read More »

Times are tough in the Japan of 1918. A shopkeeper and his wife, having just opened up a new store, require protection from Boss Onimasa, if their business is to survive. Unfortunately, they have no money to offer him. On the other hand, they have plenty of children. When Onimasa arrives, however, he is less impressed with the boy they offer him than he is with their daughter, Matsue. He takes them both, but only Matsue is strong enough to withstand estrangement from her family and the rigors of yakuza life. It is through Matsue’s eyes, then, that we witness the fall of Onimasa’s yakuza clan, and the tumultuous forces that shaped Japan from 1918 until the World War II…Read More »

Synopsis:
A virgin named Freddie has a major complex about his mother and won’t let himself become involved with any other woman.Read More »

Brief Synopsis:
20th Century-Fox put a lot of eggs in this 1953 film—Cinemascope, 3-D and stereophonic sound on prints for the few theatres equipped for that sound system in 1953, and the result was possibly the best 3-D film made during the craze. The basically-simple plot, in theory but more than that in execution, concerns a spoiled and alcoholic millionaire, Robert Ryan, who breaks his leg falling off of a horse, and is left to die in the desert by his cheating wife, Rhonda Fleming (born for Technicolor and 3-D), and her lover, William Lundigan.Read More »

Quote:
This sensitive, expressionist film, the suprise hit of the 1982 Cannes and Taormina Film Festivals, examines Budapest’s troubled adolescents of the early 1960’s with humor and passion.Read More »

Bigger and better
This movie ups the stake of the previous ones in the franchise. Sometimes when a movie is bigger it doesn’t necessarily make it better but in this case, it is better than the previous films. The fight scenes are great as usual. It might even be better than the previous movies. The choreography is very creative and the actors do a great job at making the fights look real and entertaining. Saori Izawa is an amazing stuntwoman, she really brings the physicality to the role. Read More »