“Shot in 1974 with a Sony Porta-Pak, the crazily careering Stranded in Canton documents a cast of hard-drinking Southerners with the intimacy, ease and instability of a seasoned participants. Whiffs of Southern Gothic are not new to Mr. Eggleston’s work, but here they rise to the surface–fierce, tragic and proud.”
–The New York Times
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David is stuck. Stuck in his middle-aged life, with a middle-aged wife and a daughter, a decent Volvo, a decent apartment in the suburbs and a decent job. He meets Eva, a free-roaming spirit, young and full of vitality. He falls head over heels in love with her…Read More »
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Based on the story of Franca Villa and Filippo Melodia. In Sicily, as a Mafia boss leaves for prison, he advises Vito, a young man who’s his potential successor, to marry a virtuous and poor woman. Vito’s eye settles on Francesca, only 15, but lovely and self-possessed. Among her virtues are high self worth and forthright speech, so although she falls in love with Vito, she won’t bow down to him. Believing he’s losing face, he has his boys kidnap her and he rapes her. Then, he tells her he’ll still marry her. Instead, she files charges. Her parents, brother, and neighbors refuse to support her. Will she break? Will Vito continue his assaults?Read More »
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Brief piece for the television series Aujourd’hui en France (Today in France). The review of an exhibition by Miró at the Maeght Foundation offers the opportunity to approach the surrealist artist from the central themes of the filmmaker. The theater, the interrelation between the arts and the transformation of the children’s experience through art. The set turns out to be a work of Joan Miró translated into real life. First screening after her television showing in 1980Read More »
One of the five episodes of Bedtime stories for children by Harun FarockiRead More »
Synopsis:
Two black bounty hunters ride into a small town out West in pursuit of an outlaw. They discover that the town has no sheriff, and soon take over that position, much against the will of the mostly white townsfolk. They raise hell, chase women, and milk the locals for cash, while waiting for the opportunity to get their man.Read More »
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Straub-Huillet’s first color film, Othon (Les yeux ne veulent pas en tout temps se fermer, ou Peut-être qu’un jour Rome se permettra de choisir à son tour) adapts a lesser-known Corneille tragedy from 1664, which in turn was based on an episode of imperial court intrigue chronicled in Tacitus’s Histories. The costuming is classical, and the toga-clad, nonprofessional cast performs the drama’s original French text amid the ruins of Rome’s Palatine Hill while the noise of contemporary urban life hums in the background. Their lines are executed with a terrific flatness and frequently through heavy accents; the language in Othon becomes not merely an expression but a thing itself, an element whose plainness here alerts us to qualities of the work that might otherwise be subordinated. “If at every moment one can keep one’s eyes and ears open to all of this,” Straub wrote, “it’s possible to even find the film thrilling and note that everything here is information—even the purely sensual reality of the space which the actors leave empty at the end of each act.Read More »
Synopsis:
The daughter of a powerful man, Birei, disappears and Koryu is sent to Tokyo to investigate. She soon discovers that Birei was kidnapped in a gangster’s diamond smuggling ring that is very close to home. Soon she is surrounded by the gangster’s army of martial arts experts…Read More »
