1970s

Quote:
In a spiritual continuation of the anguished confrontations that close out Minamata: The Victims and Their World, Minamata Revolt captures the direct negotiations that took place between the Chisso corporation and the Minamata disease victims after a court ruling ordered the company to compensate them and their families. Patients who had self-organized to demand the company for direct payments and lifelong medical care stare down and scream in the faces of Chisso’s spokespeople, who effortlessly embody the chillingly staid evil of corporate greed. The second and most rarely screened entry in Tsuchimoto’s Minamata Trilogy, Revolt is a gripping indictment of modern industry and a testament to human resilience.
– Museum of the Moving ImageRead More »

The American Jimmy Sanders is son-in-law and assistant of doctor Delfman. Delfman sees Jimmy as his natural successor, but Jimmy doesn’t like this idea. The death of Delfman, however, forces him to do so, which leads to new conflicts.Read More »

About a group of young nazi terrorists committing crimes after the end of WW II.Read More »

Quote:
A cinéma-du-réel documentary by spanish film-maker Jaime Chávarri about the family of the controversial poet from the generation of ’36 Leopoldo Panero.

In 1976, Jaime Chávarri begins the shooting of what was supposed to be an illustrated report about the father of the Panero family: Leopoldo Panero. The material turns into the film El Desencanto (The Disenchantment) which will end up being a symbol of the family and of the age and will be considered a cult film by a whole generation. In the first half of El Desencanto, the mother, paradoxically called Felicidad (Happiness), and two of her sons, describe the poet with their memories. Though he does not appear in the film himself, (no pictures, no video excerpts), he is the ghost that haunts this family.Read More »

uote:
A film about a connection between love and death, which is different from ‘Till death do us part’: If love for each other is more important than life, then the common, voluntary death is a possibility to preserve this love. And if life dies inexorably, then death is an attempt to preserve life. A film about an amour fou between a young doctor and a former teacher. She, daughter of German Jews who emigrated to France, returns to Germany one day: she escapes from her external reality (life in France) into an internal past (the memory of her childhood). The locations of this ‘love and death film’: the Rhine, where it is not romantic, but productive: dirty banks, chemical factories, nuclear power plants and hopeless sadness. Shabby hotel rooms in crummy dosshouses; the view of industrial suburbs where one can only die, but not live. A film of a desolate beauty.Read More »

Quote:
A film that uses animation as a tool to spastify the various stages of cinema development. It is a play with form and juggling of genres, with Zbigniew Rybczynski collaborating. The theme of this work can be considered the transience and inevitability of fate, which is symbolized by a painting hung on the wall showing hunters in a boat. Generations of a certain family meet in the living room, up to the then present day, the mid-1970s.Read More »

Synopsis from IMDb:
Artur, in Lisbon for his holidays, wanders aimlessly, and is picked-up by Rui, a young man who is into marketing and advertising. Joana is in Lisbon for holidays, but also trying to escape from a mysterious, dark passion. Artur and Joana come together, find common roots in their rural background, but their union comes to an end, as someone from Joana’s past interferes.Read More »

Description from the University of Massachussetts website:
This two-part drama examines the fate of Haneke’s own generation which came of age after World War II. The first part depicts the generational gap between 1950s teenagers and their parents while the second shows this same group of characters twenty years later as they have grown up to be dysfunctional and suicidal adults. Regarded as the most significant of Haneke’s early works, Lemmings contains incipient treatments of many of the themes he would later elaborate on in his theatrical features.Read More »

Haneke unplugged – consistent themes, early, bare-bones exploration.

The dark mood is set in the first scene: the vandalizing of cars. At once a deeply anti-bourgeois impulse and an act that expresses the faceless anomie of the post-war generation, this film is a melodramatic exploration of teenage resistance to overbearing parents and the constricting influence of a too-small Austrian town. Haneke upends Arcadia (youthful innocence) by transgressing boundaries such as sex out of marriage; smoking; and adultery with an adult. His teens damage cars and otherwise passive-aggressively act against parents. Haneke then subverts the bourgeois fiction of happiness and security by suggesting that in the end our own self-absorption and lack of empathy will relegate our relationships to hostile acts. Read More »