While trying to raise money to prevent his car from being repossessed, George is attracted to Lola, a Frenchwoman who works in a “model shop” (an establishment which rents out beautiful pin-up models to photographers). George spends his last twelve dollars to photograph her, and discovers that she is as unhappy as he.Read More »
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The summer of 1945. As a “human bullet” of the Kamikaze Unit, 21-year-old “he” is inside a drum with a torpedo. While he waits, he looks back on a short adolescence, reminiscing on the harsh training, a friendly bookstore, and a girl he loved. A complement to The Emperor and a General, and based on personal experience, Okamoto comically portrays the stupidity of war as well as the sentiments of youth. Though filmed on a low budget as an independent production, the tone of the 16mm image, the dry and humorous monologues and the surreal beach scene etc. create a unique effect.Read More »
Hagbard and Signe / The Red Mantle
By Roger Ebert / October 30, 1968
Prentoulis films presents an ASA Film Movie Art Europe co-production, directed by Gabriel Axel from a screenplay by himself and dialog by Frank Jaeger. Produced by Bent Christensen and Johan Bonnier. Photographer in color by Henning Bendtsen.
“Hagbard and Signe” is a beautiful, lean, spare film, which reaches back into the legends of the past to find its strength. I think it must be reckoned the sleeper of the year; I had not heard of it previously, either under the present title or as “The Red Mantle” (its title as the Danish entry at Cannes).Read More »
“Plot Synopsis by Dan Pavlides
Three people from the country travel to the big city to seek employment in this documentary that contrasts primitive and modern life in Nigeria. After they have money, the three return to their native village to resume shepherding and hunting.” (All Movie)Read More »
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The adventure of a young university student confronted with love and the Quebec separatist movement of the 60s. Denis Héroux, who directed this film while in university, says, ”I realized my strongest characters, those who oriented the film almost against my will, were ardent separatist, sometimes even terrorist. But I was stuck with them and had to continue following them.”Read More »
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The story behind the rediscovery of “Who’s Crazy?,” a 1965 film directed by Thomas White that’s screening at Anthology Film Archives tonight through Sunday, is so unusual that it raised my suspicions along with my curiosity. The movie screened at the Cannes Film Festival in 1966, but it hasn’t been shown publicly since then and was widely believed to be lost. (Also, White never made another feature.) In its absence, the movie was famous for its soundtrack—in particular, for its music score, by the central jazz modernist Ornette Coleman and his trio.Read More »
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Set along the Turkish-Syrian frontier, this terse, elemental tale of smugglers contending with a changing social landscape brought together two giants of Turkish cinema. Director Lütfi Ö. Akad had already made some of his country’s most notable films when he was approached by Yılmaz Güney—a rising action star who would become Turkey’s most important and controversial filmmaker—to collaborate on this neo-western about a quiet man who finds himself pitted against his fellow outlaws. Combining documentary authenticity with a tough, lean poetry, Law of the Border transformed the nation’s cinema forever—even though it was virtually impossible to see for many years.Read More »
Wait Until Dark (1967) is a suspense-thriller film directed by Terence Young and produced by Mel Ferrer. It stars Audrey Hepburn as a young blind woman, Alan Arkin as a violent criminal searching for some drugs, and Richard Crenna as another criminal, supported by Jack Weston, Julie Herrod, and Efrem Zimbalist Jr.. The screenplay by Robert Carrington and Jane-Howard Carrington is based on the stage play of the same name by Frederick Knott.
Hepburn was nominated for the Academy Award for Best Actress (losing to Katharine Hepburn), and Zimbalist was nominated for a Golden Globe in the supporting category. The film is ranked #55 on AFI’s 2001 100 Years…100 Thrills list, and its climax is ranked tenth on Bravo’s 100 Scariest Movie Moments.Read More »
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I am Twenty is notable for its often dramatic camera movements, handheld camerawork and heavy use of location shooting, often incorporating non-actors (including a group of foreign exchange students from Ghana and the poet Yevgeny Yevtushenko) and centering scenes around non-staged events (a May Day parade, a building demolition, a poetry reading). Filmmakers Andrei Tarkovsky and Andrei Konchalovsky both play small roles in the film. The dialogue often overlaps and there are stylized flourishes that echo the early French New Wave, especially François Truffaut’s black and white films. The screenplay, co-written by Gennadi Shpalikov, originally called for a film running only 90 minutes, but the full version of the film runs for three hours.Read More »