1990s

Synopsis
The story behind one of the worst radiological disasters to ever happen in Brazil, in 1987.Read More »

Adapted from the gothic romance by Daphne Du Maurier, Rebecca is a Classic tale of love and hate. Maxim De Winter (Charles Dance) marries a woman half his age (Emilia Fox) only a year after his first wife, the beautiful and accomplished Rebecca, dies.

Maxim’s shy bride finds herself in an aristocratic social world her middle class upbringing did not prepare her for. The housekeeper, Mrs. Danvers (Diana Rigg) worsens the situation as she despises her for taking her darling Rebecca’s place.Read More »

Quote:
The recent commercial and critical flourishing of Sakha cinema – within the Republic, across Russia, and on the global stage – has been remarkable. But no film culture emerges ex nihilo. There are always predecessors, inheritances, and vocabularies from which to build. In purely filmmaking terms, the origins of today’s “Sakhawood” lie in Soviet cinema history as well as in the early pioneers of the post-communist Republic; on a deeper cultural level, they derive from the shared visual and spiritual language of the people themselves. As their broad acclaim demonstrates, the recent wave of films have a universal appeal. But they also stand as proof of the vitality and creativity of a very particular worldview. All of this is encapsulated in Anatoly Vasiliev’s striking and (until now) rarely seen Summer House.Read More »

Black-and-white Sven Nykvist cinematography highlights this Woody Allen comedy about fame and obscurity among Manhattan celebs. Journalist Lee Simon (Kenneth Branagh), makes a play for actress Nicole Oliver (Melanie Griffith), subject of his current story. Lee is separated from his wife Robin (Judy Davis), a schoolteacher who’s totally lost and insecure — until TV producer Tony Gardella (Joe Mantegna) becomes fascinated with her. Concerned about her possible sexual inadequacies, Robin recruits a prostitute (Bebe Neuwirth) to instruct her on oral sex techniques. On the town, Lee becomes transfixed by a blond supermodel (Charlize Theron), who teases him throughout the night, eventually dropping him before they get home.Read More »

Review of Glimpse 4 by Victor Westman

Another generously-crammed club-sandwich of a Roy Stuart video, with mostly tasty ingredients spilling out in all directions and in totally variable proportions. You never know whether a leisurely scene-opening is going to lead in to a brief short or to an extended twelve minutes or more. Two-minute prototypes here include a high-heel-teetering bookshop seductress, walking in to administer mouth relief to bemused Taschen browsers (may we have a second edition, please!), and a café-scene involving Cyril, a woman friend, a waitress, peeks up skirts on a spiral staircase, and a loo engaged when most needed.Read More »

New Orleans District Attorney Jim Garrison discovers there’s more to the Kennedy assassination than the official story.Read More »

An abnormal taxi driver lusts for blood every rainy night, and several young women are killed as a result. The muderer, Laiu, likes to take photos of the victims dismembered bodies as momentos. Inspector Lee is called onto the case in this bizarre thriller.Read More »

Sushmita is paralysed below her neck while escaping a rape attempt. She is admitted to a private nursing home for neurological handicapped patients run by Dr. Mitra, himself a paraplegic. Here she meets a wide variety of patients. Her case is handled by a young physiotherapist Santu, who works hard and soon she can move her fingers. During the process. Santu and Sushmita fall in love but she won’t hear of marriage till Santu tells her that they can live a normal married life and have children. Santu very dramatically convinces her that she can even work in an office.Read More »

Quote:
The lives of tortured artists have always made for fascinating film fare. From Amadeus to Mrs. Parker and the Vicious Circle, dramatic re-creations of the often-frenzied, always-tormented lives of “great” men and women have captivated audiences. Since genius is often synonymous with self-destruction, it should come as no surprise that director Agnieszka Holland’s presentation of the relationship between two 19th century poets is overflowing with grimness, grief, and anger. Yet, even though we never feel much sympathy for either Arthur Rimbaud (Leonardo DiCaprio) or Paul Verlaine (David Thewlis), the material is nevertheless strangely compelling.Read More »