1970s

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The film is made according to a real event. At the end of 1942 and the beginning of 1943, the Bulgarian occupiers intensify the oppression and torture of the civilians in order to prevent the spreading of the Revolution for the liberation of Bitola’s environs. After the treachery of the peasant Dime Paftar, who informed the occupiers of the presence of partisans in the village of Lavci, among whom is the legendary partisan Todor Angelov – the Teacher, for whom a warrant has been issued, the Bulgarian chief of the police staff and the major of the Bulgarian soldiers in Bitola organize a joint action to attack the village. Read More »

Two boys at school in the 1950s. Two professional men in their dubious prime today. Two Sundays and two crises. What have they to do with each other and which child is father of the man?Read More »

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Les Camisards brings events to the screen from the period in French history in which King Louis XIV ordered all Protestants to convert to Catholicism. The film begins just after the revocation of the Edict of Nantes (1598-1685), a proclamation that had granted official toleration to Protestants. Rather than being a sweeping epic, this film examines the fight of a small group of Protestants for survival in the mountainous Cevennes region. Some of the story is told using excerpts from the diary kept by an actual participant in the conflict.Read More »

Synopsis:
A sniper is killing residents at a winter resort. Who will die next? And why?

Review:
There’s no doubt that Andy Griffith did his best to shun his good natured country boy persona by making some very interesting, and often quite dark, made for TV movies during the 70s (and of course A Face in the Crowd… I know a little bit about other movies sometimes too). He lent his performances as the bad guy some dark justice as audiences would see in both Pray for the Wildcats (“I’m a hippie with money!”) and Savages (both released in 1974). In Winter Kill he returns to his more recognizable good guy shtick, but there’s not much of his signature joviality to be seen as he finds himself on the trail of a cold-blooded killer in a small, snowy mountain town.Read More »

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Thomas, the son of a prison warden, falls for and seduces inmate Martin. When Martin is released from jail, they try to build a relationship and a life together but no one will let them alone.Read More »

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Post-’68 France as “a curious country” of befuddled fathers and obscured revolutionaries. The middle-aged Everyhomme (Philippe Noiret) is a widowed watch-tinkerer in Lyon, who gets his politics from TV news and “likes to be legal” too much to cross a red light on an empty street. The necessary shock arrives: His son (Sylvain Rougerie) is on the run, having killed a factory security guard. Gallicizing Georges Simenon’s novel, Bertrand Tavernier handles the moment with control, self-effacement, and muted compassion: Noiret’s dazed bus ride back home after being told the news, the activist paraphernalia in the boy’s room (scrawled on the wall is Céline’s dictum about pastoral battlefields) unnoticed by an imploding father fumbling for a bed.Read More »

Doris Wishman reteamed with Chesty Morgan, star of DEADLY WEAPONS and possessor of a much-touted 73-inch bust, for this spy thriller. This time around, Morgan plays Jane, a master secret agent who uses her eye-popping anatomy to help bring down a drug kingpin flooding the market with bad heroin. Among the outré set pieces: Chesty-as-Jane killing a man by seducing him with her poison-covered breasts.Read More »

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Warsaw, the start of the 1970s. Two young people in love, Magda and Andrzej, are struggling not only with financial and housing problems but also with their feelings for each other. Their love is tested when confronted with the cynicism not only of older people but also of Andrzej, who plays according to the brutal rules of a game where nothing but money and connections matters, even though he believes he’s doing it in order to salvage his relationship with Magda.Read More »

Nightcleaners Part 1 was a documentary made by members of the Berwick Street Collective (Marc Karlin , Mary Kelly, James Scott and Humphry Trevelyan ), about the campaign to unionize the women who cleaned office blocks at night and who were being victimized and underpaid. Intending at the outset to make a campaign film, the Collective was forced to turn to new forms in order to represent the forces at work between the cleaners, the Cleaner’s Action Group and the unions – and the complex nature of the campaign itself. The result was an intensely self-reflexive film, which implicated both the filmmakers and the audience in the processes of precarious, invisible labour . It is increasingly recognised as a key work of the 1970s and as an important precursor, in both subject matter and form, to current political art practice.Read More »