1970s

Quote:
In the last decades of the 19th century, Karl May (1842-1912) was the most successful author in Germany. For 30 years he turned out 40 pages a day, constructing a staggering body of kitsch adventure-fiction that may originally have owed a certain debt to James Fenimore Cooper but that, finally, created a mythology quintessentially German.
In his most popular stories, written in the first person, May recalled his adventures in the American West with his idealized white blood-brother, Old Shatterhand, and the equally idealized Indian warrior, Winnetou. Seeking a change of locale, May also wrote similar first-person tales about adventures in the Near and Far East.Read More »

Quote:
Vincent, a twenty-five year-old intern, lives in Rennes with his mother and his eighteen-year-old brother Bernard. In order to cheer up Bernard who has just failed his baccalauréat exam, the father invites him and his older brother to spend a holiday in his villa in Morocco, where he lives estranged from his ex-wife. Vincent and and Bernard decide to get there by sailboat, accompanied by Geneviève, Vincent’s fiancée. Vincent, who has never forgiven his father for leaving him when he was a child, remains hostile and withdrawn. Once in Agadir, they take part in a regatta during which Bernard gets to know Monika, a sexy uninhibited girl. But Monika is actually attracted to Vincent who, despite his dislike for any compromise of principle, finds himself torn between two women.Read More »

October 20, 1971, Woody Allen. At this point he was writing Everything You Always Wanted to Know About Sex But Were Afraid to Ask, had just finished Bananas, and had only been in analysis for thirteen years.

He appeared a total of seven times on the Dick Cavett Show; the clip in Annie Hall (“In the event of war, I’m a hostage”) is not from any of these appearances, but was staged for the movie – as explained by Dick in the short introduction.

The interview is one hour plus a few minutes for questions from the audience.

Woody: “The thing is, I can only write comedy. When I try to write something serious, it doesn’t come out serious.”Read More »

A writer teams up with a friend to set up a robbery.Read More »

A crook masquerading as an Army Colonel in charge of gold shipments, replaces gold ingots with fakes. Spirito Santo is recruited to solve the case and make sure the gold gets through.Read More »

Quote:
«La Région Centrale» was made during five days of shooting on a deserted mountain top in North Quebec. During the shooting, the vertical and horizontal alignment as well as the tracking speed were all determined by the camera’s settings. Anchored to a tripod, the camera turned a complete 360 degrees, craned itself skyward, and circled in all directions. Because of the unconventional camera movement, the result was more than merely a film that documented the film location’s landscape. Surpassing that, this became a film expressing as its themes the cosmic relationships of space and time. Cataloged here were the raw images of a mountain existence, plunged (at that time) in its distance from civilization, embedded in cosmic cycles of light and darkness, warmth and cold.Read More »

Nurse Charlotte Beale arrives at the isolated Stephens Sanitarium to work, only to learn that Dr. Stephens was murdered by one of the patients and his successor, Dr. Geraldine Masters, is not very eager to take on new staff. Charlotte finds her job maddeningly hard as the patients torment and harass her at every turn, and she soon learns why Dr. Masters is so eager to keep outsiders out.Read More »

There’s a distinct madness to Georgian auteur Eldar Shengalaia’s method when it comes to blending political satire and humour. He deploys madcap comedy with ease to both disguise and expose the nuanced complexities of individual and societal living during the Soviet era. The 1973 surrealistic satire Eccentrics is Shengalaia’s second feature-length comedy, in which he rekindles the thematic pneuma of his earlier diploma films such as Legend of the Frozen Heart and Fairy Tale in Snow (1958-60) by juxtaposing fantasy and reality in a fable-like love story, described variously by critics as “poetic”, “grand and eternal”, “a parable of grotesque realism” and “vaudeville-like.”Read More »

(auto-translated: ) An attempt to present, played by an actor, the mental universe of a schizophrenic, i.e. a patient whose inner life is supposed to be unable to distinguish between the dream world and reality. Description of the particularly rich oniric production of the subject (associative images, visual reminiscences, feelings of influence, strangeness) and its dramatic outcome.Read More »