1970s

Set against the backdrop of the 1967 Six-Day War, the movie adaptation of Naguib Mahfouz’s novel follows the escapist, drug-fuelled riverboat meetings of a group of frustrated Egyptians from various walks of life.Read More »

featuring Andrey Konchalovskiy on the script
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[…]Andrei Konchalovsky had, together with Eduard Tropinin, written the script for The End of the Ataman, directed by the renowned Kazakh film-maker Shaken Ajmanov. The film dealt with the special task of the Red officer Chadiarov (played by Asanali Ashimov), who in 1921 has to kill the ataman Dutov,a collaborator with the Whites.Chadiarov discloses during this operation the spy in the Red headquarters in his Kazakh home town. In order to fulfill this task, Chadiarov, who is a Chinese prince, has to get himself arrested as a spy by the Soviet commander; then he escapes, crosses the border and sides with the ataman, who resides in China. Chadiarov fulfills the secret mission successfully, while its full scale and significance transpire only at the end of the film. In its use of cavalry chases, escapes and hide-outs in the steppe, this film is fully within the genre of the ‘Eastern’.Read More »

A tale of lies and revenge. A local Kung fu master hopes to monopolise, but family in his way is protected by a great martial artist. The evil lord hires 4 local beggars all masters in their own arts (pole, swords, kicking, axe) and tells them lies about the young fighter to sour their feelings on him causing them to challenge him to a duel. But after countless fights between them they all realize that they are much better friends then enemies, until one of the fighters is sabotaged and kills the young fighter. Being mistakin for a killer the other 3 turn their backs on him and chase him off swearing revenge until they find out what the real story is. Amazing weopon work that only the venoms could show you. Another first class story line, hands down just another great venoms movie period.Read More »

A group of Liverpudlians goes to Middlesborough to lay a tarmac road. Without the boss around, there’s a chance for some diversions with the locals, while keeping up the spirit of free enterprise, preferably on the firm’s time.Read More »

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An impressionable teenage girl from a dead-end town and her older greaser boyfriend embark on a killing spree in the South Dakota badlands.

Roger Ebert, in 1973, wrote:
They meet for the first time when she is in her front yard practicing baton-twirling. He has just walked off his job on a garbage truck. She thinks he is the handsomest man she’s ever seen — he looks just like James Dean. He likes her because he never knew a fifteen-year-old who knew so much: “She could talk like a grown-up woman, without a lot of giggles.” Within a few weeks, they will be the targets of a manhunt after he has shot down half a dozen victims.Read More »

Synopsis
In this story set in near future, a group of young rebels, hippies and 1968 protesters want to cede and make an independent Island from the Mainland. A journalist who came to the Island to make a report about political summit that takes place there gets involved in the clash between young rebels and establishment.Read More »

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A foreign journalist arrives on a small Pacific island 200 miles off the coast of South America. Once a leper colony, the island was later transformed into a prison and then, under U.N. mandate, made into an independent republic. Yet despite democratic structures, the inhabitants–who speak a strange dialect composed of Spanish and English–still obey the old prison rules. After sending back detailed accounts of the torture and repression seen everywhere, the journalist realizes that she”s fallen into the trap created for her by the islanders: lacking natural resources, the island”s main export is news. The clearest anticipation of Ruiz”s later European work, The Penal Colony is a powerful document of the tensions and contradictions in Chile in the months before Allende”s electoral victory.Read More »

AMY! is neither a drama not a portrait in the conventional sense, but an assembly of sounds and images which evoke the subject through historic documents and relics, re-enactments and metaphors. The film also asks an underlying question; what is a heroine? We want to enquire into the idea and image of the heroine, not in an explicitly theoretical way, though the film has a theoretical background, but by putting fragments on display to suggest both the frustrations from which heroism is born and to which it is condemned, and at the same time something of the exhilaration it provides for the heroine herself and for others. Formally, our points of reference are Maya Deren and Gertrude Stein.Read More »

Without turning his back on his earlier experiments with testing the boundaries, Dwoskin made fictional films, including a superb adaptation of Frank Wedekind’s Tod und Teufel, in which voids and slips are filmed during acts of speech, rather than the characters and their actions.Read More »