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Set in the 16th century, an ambitious young samurai is adopted into a noble household, thereby attaining the necessary status to marry the daughter of the castle warden. Plans for the marriage are jeopardized, however, when a beautiful young woman, claiming to have lost her memory, appears. The enamored samurai marries her instead, but lives in constant fear that she will recover her memory.Read More »
Synopsis:
I am Sergei Parajanov! shot a few months after Parajanov’s death. Features archive photographs, his collages, the clips from Sayat-Nova (1968), Ashik Kerib (1988), the making of The Legend of the Surami Fortress (1984) and a few views of the house he lived.Read More »
After being banned from South Africa thirty years earlier for his reporting during the apartheid era, award winning filmmaker and journalist John Pilger goes back with Alan Lowey to witness the benefits that democracy has brought to its people. Pilger questions to what extent has the black majority benefited from the democratic changes in comparison to the white minority.Read More »
I could be bounded in a nutshell and call myself a king of infinite space, were it not that I have bad dreams…
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Hamlet is a 1996 film version of William Shakespeare’s play Hamlet, adapted for the screen and directed by Kenneth Branagh, who also stars in the titular role as Prince Hamlet. The film also features Derek Jacobi as King Claudius, Julie Christie as Queen Gertrude, Kate Winslet as Ophelia, Michael Maloney as Laertes, Richard Briers as Polonius, and Nicholas Farrell as Horatio. Other notable appearances include Robin Williams, Gérard Depardieu, Jack Lemmon, Billy Crystal, Rufus Sewell, Charlton Heston, Richard Attenborough, Judi Dench, John Gielgud and Ken Dodd.Read More »
While their mother is dying in the modern Gimli, Manitoba hospital, two young children are told an important tale by their Icelandic grandmother about Ainar the lonely, his friend Gunnar, and the angelic Snjofrieder in a Gimli of old.Read More »
Rosie and Vincent know each other for ten years, and are married for five. She doesn’t like her job, he isn’t too pleased working with her dad. They’re trying to have a baby. One morning Benoit, a Frenchman and former pen pal of Rosie, whom she never met, comes to visit. Did Rosie love him? Does she love him now?Read More »
Second feature film by German-Turkish director Thomas Arslan (Ferien, Aus der Ferne), and a rough diamond of the first generation of the so-called ‘Berlin School’. Can is a young and smart upstart; he dreams of a small family but the money that fuels this dream comes from the streets. Can is a dealer, he works for Hakan who is supplying the kids in his neighbourhood with drugs. And while Can struggles to get control over his life he sees his girl friend, the mother of his kid, leaving and himself increasingly surrounded by false friends. On top of it, a cop (Birol Ünel, the male lead from Fatih Akin’s “Gegen die Wand) is on his back trying to persuade Can to work undercover for the police. The more Can attempts to free himself, the deeper he sinks into a life he never aspired to.Read More »
“This film depicts landscapes, metaphorically and actuality, of the southern island called Panyi. It reflects the impression of the shooting time at the island for several days. The sounds are taken from different sources, but all were recorded while the subjects were not aware of the recording apparatus. Thus, this piece may be called a re-constructed documentary. The title is intended as a parody of the word that is being used by the West to describe Thailand or other “exotic” landscapes. This film is the voice from individuals who reside in such environment. The film is presented in crude and rugged quality, as it is a product from the uncivilized.”
by Apichatpong WeerasethakulRead More »
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As much as Olivier Assayas resists having his themes and styles pinned down, one is tempted to put Irma Vep at the center of the French filmmaker’s shape-shifting oeuvre. A virtually ad-libbed project—written, shot, and edited, like Wong’s Chungking Express, in a creative rush between larger productions—it uses a gallery of frazzled characters to crystallize many of Assayas’s obsessions and, casually and boldly, makes the medium itself the most frazzled character of all. Appropriately, the setting is a hectic Parisian movie shoot in which director René Vidal (Jean-Pierre Léaud), once respected but now shaky and befuddled, plans to remake Louis Feuillades’s 1915 serial Les Vampires. Read More »