Two sailors with a rivalry over chasing women become friends. But when one decides to finally settle down, will this mysterious young women come between them?Read More »

Made for TV and the French Bicentennial celebrations, this is an extreme case of Peter Greenaway’s obsession with cataloguing and classification. Comprising 23 case histories of corpses fished out of the Seine between 1795 and 1801, it forms a kind of micro-reprise of his monumental The Falls, piling up its narratives, Holmesian speculations and slow, clinical tracking shots over corpses, in a rigidly uniform structure. But within this forbidding system, Greenaway breaks up the frame, much as in Prospero’s Books, using Paintbox graphics to play on the comparative textures of television and paper. Death in the Seine is a pedantic film, because it’s about pedantry and the systematic collecting of facts which might or might not constitute evidence. It wasn’t taken up by British TV, which considering the film’s sign-off comments about the transience of memory and recorded knowledge, is a rather sour irony.Read More »

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Chabela, María, and Toña live in a Mixtecan town where they have to confront their own sexuality.Read More »

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All seems lost. And then, in an old, lonely and icy park two shadowy figures meet: those of Deus and a Messenger from God. The Messenger gives the crook (the temporary state of poor João de Deus) a suitcase stuffed with money. His mission accomplished, the Messenger leaves. João counts the bank notes. The silent waters of a nearby lake are disturbed when a heavy object plunges in. João goes to see what is happening. A young girl (Joana) is drowning. João throws himself into the water and carries the unconscious Joana off to a convent (Capucines?). How Responsible! João de Deus returns to the park to recover the case and its precious contents: happily, nothing has been touched…Read More »

Voice From IMDb wrote:

Every Girl Has Her Price – And Joan’s is High

Well-made Clarence Brown pre-Code soaper with Joan Crawford (Brown directs Joan 5 times) costumed by Adrian (he does this a total of 28 times) and photographed by Oliver T. Marsh (he did a total of 15 films with Joan). First class production crew yields a first class film.Read More »

In 2002, three young reporters get into a car in Kabul for a journey that will change their lives forever.Read More »

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A melodrama adapted by Yamada Nobuo and Shigemori Takako from Sasazawa Saho’s novel The Lost Woman and directed by Yasuzô Masumura.

Mariko had planned a trip as a couple, but it was cancelled again due to her husband Tetsuya’s work schedule. Feeling dissatisfied with her life with her husband, Mariko goes to Izu by herself and decides to stay at the house of Katsue, who used to work at Mariko’s parents’ house. Mariko meets a young man named Shigeo there. She is puzzled by Shigeo’s willingness to reveal his thoughts and feelings, but Mariko soon finds herself attracted to his honesty. Read More »

Wang Tiemei, a single mother, loses her job and moves, befriending neighbor Xiaoye who appears cheerful but is depressed. Their bond grows as Tiemei navigates relationships with her ex-husband causing trouble.Read More »

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The level of disinterest in personal affairs has become so cynical in Bucharest, that people cheer even an inept army and police manhunt. Meanwhile, Mitu and Elena get to know each other in the course of a vodka drinking contest and discover that they are both dissatisfied with the status quo. Mitu is about to begin military service and Elena is to be married to a man she does not love. They decide they are meant for each other and plan on a different future, one that is on a collision course with the authorities, and start a mad affair.Read More »