1960s

The 1968 Czechoslovakian film All My Good Countrymen (Všichni dobrí rodáci) is a tremendous piece of cinema. It’s the kind of picture one watches on several occasions across a lifetime, both to better understand what it has to say and also to feel more attuned to the culture and history it represents. The film feels epic in scope, despite coming in at under two hours in length, and this is largely because of its focus on a single setting across a dozen or so years, with numerous wonderful and ugly things happening in the interim. Director Vojtech Jasný also wrote it, putting in a decade’s worth of work to make what would become his signature film. It would be the last feature he’d get to direct in his home country for decades, as Jasný was effectively banned from filmmaking as a result.Read More »

Quote:
“Wavelength” was shot in one week in December, 1966, preceded by a year of notes, thoughts, mutterings. It was edited and first print seen in May, 1967. (The Film-Makers’ Cooperative)

Quote:
I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas. I was thinking of, planning for a time monument in which the beauty and sadness of equivalence would be celebrated, thinking of trying to make a definitive statement of pure Film space and time, a balancing of “illusion” and “fact,” all about seeing.Read More »

Irma can only think about getting rid of her cowardly dirty husband. She seeks out lovers not to commit adultery or for pleasure, but to find an accomplice to kill her husband.Read More »

An unofficial sequel to Million Dollar Match (1961) which also starred Koji Wada as a young energetic boxer. This story deals more with betting action surrounding a boxing match, concentrating mostly on the high-powered Yakuza gambling dens.

Once again, Suzuki was reprimanded by his Nikkatsu boss, Kyusaku Hori, for refusing to deliver a simple, straightforward story. The scolding centers on Suzuki’s “extensive use of symbolism in a traditional action picture.”Read More »

Plot Synopsis by Sandra Brennan
In this crime drama, a man serves five years in the state pen for armed robbery. Upon his release, the man is anxious to retrieve the $260,000 in loot he hid before he went to jail. Unfortunately, he is still pursued by both the police and his former gang mates. He ends up severely beaten, robbed, and ultimately cheated by his own lover. Despite these set-backs, the fellow remains content because he now has the love of his former partner’s widow.Read More »

Quote:
The Illustrated Man is classic Bradbury, a collection of eighteen startling visions of humankind’s destiny, unfolding across a canvas of decorated skin, visions as keen as the tattooist’s needle and as colorful as the inks that indelibly stain the body. The images, ideas, sounds and scents that abound in this phantasmagoric sideshow are provocative and powerful: the mournful cries of celestial travelers cast out cruelly into a vast space of stars and blackness, the sight of gray dust settling over a forgotten outpost on a road that leads nowhere, the pungent odor of Jupiter on a returning father’s clothing. Here living cities take their vengeance, technology awakens the most primal natural instincts, Martian invasions are foiled by the good life and the glad hand, and dreams are carried aloft in junkyard rockets.Read More »

Quote:
That the critics baptized the wave which emerged at this time as the “new Swiss cinema” simply reflects the fact that the “old” Swiss cinema was unknown to the cinema-going public. Today, the appeal and energy of this first film remain undiminished, magnified by the exceptional stature and presence of François Simon and the sublimely uncluttered camera work of Renato Berta. Tanner drew his subject matter from what he saw of the events of May ’68 in Paris, which he covered for Swiss television. Unimpressed by the ideological pronouncements of the young demonstrators (Tanner was nearly 40 and mistrustful of the siren songs of militancy), he was more struck by the elderly people marching alongside them.Read More »

Quote:
In the sporting world, bullfighting remains the epitome of contradiction, where grace begets gore and patience rewards ego. Such unsettling dichotomies haunt Francesco Rosi’s The Moment of Truth, a dangerously alive film that jumps down from the stands and into the ring where Spanish toreros dance a prolonged tango with beasts whose one instinct is to gorge whatever body part they can. In an attempt to grasp a sense of immediacy from convention, Rosi leans heavily on a gripping hand-held aesthetic, seemingly pinning his fluid camera to the flamboyant garb of his strutting protagonists as they tempt fate on a daily basis. While much of The Moment of Truth can be surmised within a very generic sports-genre arc (rise and fall, temptation of riches), this is most definitely a film that lives and breathes in the details of experience, and it’s hard not to admire its unabashed dedication to controlled chaos and incompleteness despite the difficult subject matter.Read More »

Quote:
The caustic, satirical tone of Machorka-Muff is immediately evident, but successive viewings will reward spectators as they become more familiar with the nuances of Böll’s text—to which the film owes a great deal of its incisiveness—and will be more able to appreciate the precise orchestration executed by Straub and Huillet of the relations between sound and image, of tensions between voice, gesture, tempo, and action. The film’s opening—combining, in barely 48 seconds, extreme concision, lucid insight, and brutal parody—offers us an excellent example of this.

— Cristina Álvarez López, MubiRead More »