1990s

synopsis:
The movie is about the troubles of a group of people living in the same neighborhood. Ihsan has turned in upon himself by the death of his lover and he is waiting for the day when he will die in the mansion where he lives. Fatma sometimes goes to help Ihsan, and she can’t stand against her husband who abuses her daughter. Gulizar lives in the same neighborhood, and she has also become obsessed with her virginity. Gül is also accidentally pregnant and cheated on by her husband. She is also preoccupied with her own problems. The story of these five people struggling with their own problems will intersect around a murder case.Read More »

Quote:
Johnny flees Manchester for London, to avoid a beating from the family of a girl he has raped. There he finds an old girlfriend, and spends some time homeless, spending much of his time ranting at strangers, and meeting characters in plights very much like his own.Read More »

Dietrich Leder, Film-Dienst 24/92 wrote:
In Europe in the fall of 1989, history took place before our very eyes. Farocki and Ujica’s “Videograms” shows the Rumanian revolution of December 1989 in Bucharest in a new media-based form of historiography. Demonstrators occupied the television station [in Bucharest] and broadcast continuously for 120 hours, thereby establishing the television studio as a new historical site. Between December 21, 1989 (the day of Ceaucescu’s last speech) and December 26, 1989 (the first televised summary of his trial), the cameras recorded events at the most important locations in Bucharest, almost without exception. The determining medium of an era has always marked history, quite unambiguously so in that of modern Europe. It was influenced by theater, from Shakespeare to Schiller, and later on by literature, until Tolstoy.Read More »

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Against his father’s wishes, Pedro, a naive kid from Mexico City, joins the Federal Highway Patrol. His simple desire to do good rapidly comes into conflict with the reality of police work.Read More »

One day, Hélène goes to the home of Charles Piétri, a man she once loved and has not seen for twenty years. She meets Julien, Charles’ son, who tells her that his father has died. Shortly afterwards, she breaks off her marital ties with Alexandre, and her professional ties with Georges Birski (who has just commissioned her to restore a painting), to live with Julien and to devote herself totally to him. In the house where Charles used to live and where Irene, Julien’s mother, is about to move in, Hélène discovers disturbing signs, clues and even evidence of a disturbing link that would unite them and that will push her to commit a senseless act…Read More »

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Directed by Matti Ijäs and written with Arto Meller, Räpsy & Dolly aka Paris Waits (1990) is a tragicomic love story of a petty criminal and a former cabaret dancer. Detective Karisto (Kari Väänänen) releases Auno “Räpsy” Pirilä (Matti Pellonpää) from prison, who in turn has to calve his childhood friend Börje (Pertti Sveholm) from criminal activities. Alcoholic Dolly (Raija Paalanen) takes Räpsy to live in Kallio, Helsinki, and hopes to move to Paris with her in the spring.Read More »

In fourteenth-century England, peasant girl Christine Carpenter is so attracted to a statue of the Virgin Mary that the local priest (who lusts after her) suggests she be walled up in the church as an anchoress, a holy woman with responsibility for blessing the villagers. But when the priest has Christine’s mother tried as a witch, she digs herself out of her cell, a crime for which the punishment is death…Read More »

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A Bolivian immigrant working illegally as a cook in a small restaurant in Buenos Aires suffers abuse and discrimination from its customers.Read More »

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This absorbing and intimate portrait of an ordinary town doctor is characteristic of Michel Deville’s cinema: sombre, slow moving, filled with humanity, and unashamedly naturalistic.

Albert Dupontel is captivating as the film’s central character, Dr Sachs, conveying not just the sense of ennui of a man who is locked into a life he no longer appreciates, but also his yearning for some kind of release, for the fulfilment that has so far eluded him. It is an underplayed, introspective, spiritual kind of film, focused exclusively on Sachs’ daily routine and his matter-of-fact interactions with his patients. The repetitive nature of the consultations, the drab colour scheme and the dreary locations do weigh the film down by they emphasise the sense of aching emptiness that is apparently pushing Sachs towards self-destruction.Read More »