1970s

IMDB:
Charles Dréant has compromising files on politicians. The Guenn, member of a party, seeks to recover them.Read More »

Documents the life of the last generation of Selk’nam’s. Their way of life, economy, rituals, chants, traditions, and their slow extinction after the colonization…Read More »

Quote:
This entertaining film, from a delicious early novel by Henry James, takes place in a New England Arcadia that stands for everything beautiful, pure, and good. Into this Eden come a sophisticated European brother and sister who turn up unexpectedly on the doorstep of their staid American cousins, the Wentworths. The fortune-hunting Eugenia (Lee Remick) and her high-spirited brother Felix (Tim Woodward) turn this Puritan world upside down.Read More »

From Amos Vogel’s Film as a Subversive Art:
A bizarre, yet mild version of “Sunset Boulevard” a la Warhol, with a bevy of voracious females of varying proportions vying for the casual favors of a passive Joe Dallesandro. The dialogue is fresh, simple, funny, as is the relaxed, improvised acting. Fellatio and demythologized sex make their usual appearance, though – for Morrisey – in a curiously reserved manner. While these desperate people and their always-interrupted sex acts are perhaps too small really to engage one’s concern, Morrisey’s talent for a new, weird kind of naturalism (as in his Trash) now seems fully established. Most notably, sex is both ubiquitous and joyless, an almost inevitable chore that can neither be avoided nor really enjoyed.Read More »

Hans Schnier has earned his living as a clown, though he is in fact a very covert sort of social critic. After enduring a difficult childhood in Bonn during the Second World War, including his mother’s fanatic Nazism, he is appalled to discover many of the people he knows and loves swept deeply into involvement in the Catholic Church.Read More »

From Amos Vogel’s Film as a Subversive Art:
A high-camp “love story” of an outrageously handsome heroin junkie and his trash-scavenging girlfriend (played by a female impersonator), this film skips from fellatio to seduction to foot fetishism in its attacks on soap opera myths and Hollywood. A playful perversity, an acceptance of the soft underbelly of bourgeois society, a strange poignancy informs this fable of impotence, drugs, and sex. In the climactic love scene, the hero — remaining impotent — suggests to the lusting “girl” — reclining on a rumpled bed among objects gathered from garbage cans — that she use a beer bottle instead; she does, while he solicitously inquires whether she is coming, then holds her hand and promises to do better next time. In a second scene, she accuses him, in rage, of not even letting her “suck” him off. What with an antiwar Welfare worker revealed as a malignant foot fetishist, assorted females as sexual aggressors against the forever innocent male, drug-fixes or penises casually displayed, the mounting intrusions upon the viewers’ value system mark this as a truly seditious work.Read More »

The film was directed by Hudlin while he was a Yale College senior, and focuses on the experiences of African-American students at Yale in the early 1970s. The influential documentary short follows students Erroll McDonald and Eugene Rivers, and features a conversation with civil rights activist Stokely Carmichael.Read More »

This is a highly experimental French film consisting of no more than 23 camera shots, total. It resembles nothing so much as one of Warhol’s earlier films, except that it is more episodic. Nico of the Velvet Underground portrays a different woman in each of the episodes. The first three concern her “rescues” from Death Valley, Egypt and Iceland by a young man to whom she eventually says “stay away from me.” Following that, she recites from various texts in German, French and English, makes various gnomic observations and encounters various men in various guises. All the men are played either by director Philippe Garrel or Pierre Clementi.Read More »

Quote:
BAM/PFA (Berkeley Art Museum & Pacific Film Archive) wrote:
In this film of the furusato genre, Isako Nakazato returns to the Tsugaru fishing village where she grew up, bringing with her Iwashiro, a gangster who has been marked for a hit. The two decide to start a new life together in the village, learning from the wisdom of the fishermen, the blind musicians and the other villagers who have made them welcome.

Koichi Saito has made several films on similar themes, in which his protagonists are outsiders, often criminals, seeking redemption through love and acceptance into a new community.Read More »