“For freedom is the man that will turn the world upside down. Therefore, no wonder he has enemies.” – Gerard Winstanley (1609-1676)
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Winstanley explores the attempt by Gerrard Winstanley who formed ‘The Diggers’ and with a group of followers attempted to form a small farming community in one of the first proto-Communist attempts at collective agriculture.Read More »
A group of husbands with their wives participate in a reunion where everybody will find his hidden secret. The methods used are terrible, but usually work. Just usually.Read More »
A sea captain leads an international crew and has to face moral questions after a disturbing accident.Read More »
In 1995, director Steve James (of ‘Hoop Dreams’) returned to rural Southern Illinois to reconnect with Stevie Fielding, a troubled young boy to whom he had been an “Advocate Big Brother” ten years earlier.Read More »
Ryan Kazinski, 16, is in juvenile detention in Fort Myers, Florida. He gets away one day, and the world is all before him: where should he go, what should he do? Should he try to find his mom? Should he head for Colorado, where he’s daydreamed about life in the woods. He has a younger brother, so under cover of night, Ryan visits him. At night, Ryan is on the streets where there are other youth at loose ends, including one who wants Ryan to help with a burglary. The police are looking for him as well. Where might a 16-year-old of limited experience, with no money, imagine he could be safe?Read More »
Synopsis:
Making a rare visit to Canada, Claude Chabrol cowrote and directed the low-pressure psychological melodrama Blood Relatives (Les Liens de sang). Donald Sutherland and Donald Pleasence head the cast in this story of the aftermath of a brutal murder. The victim, a 17-year-old girl, was apparently raped before she died, leading Carella (Sutherland) to believe that she was killed by a sex maniac. Pedophile Doniac (Pleasence) tops the suspect list, but don’t be too sure. The truth is much “closer to home” than anyone realizes at first. Lisa Langlois, who made something of a career of Canadian scare flicks, makes her screen debut in Blood Relatives; also appearing, is Chabrol’s wife Stephane Audran. Blood Relatives was based on a novel by Ed McBain (aka Evan Hunter), of 87th Precinct fame; the film was released in the US in 1981, three years after its completion.Synopsis:
Making a rare visit to Canada, Claude Chabrol cowrote and directed the low-pressure psychological melodrama Blood Relatives (Les Liens de sang). Donald Sutherland and Donald Pleasence head the cast in this story of the aftermath of a brutal murder. The victim, a 17-year-old girl, was apparently raped before she died, leading Carella (Sutherland) to believe that she was killed by a sex maniac. Pedophile Doniac (Pleasence) tops the suspect list, but don’t be too sure. The truth is much “closer to home” than anyone realizes at first. Lisa Langlois, who made something of a career of Canadian scare flicks, makes her screen debut in Blood Relatives; also appearing, is Chabrol’s wife Stephane Audran. Blood Relatives was based on a novel by Ed McBain (aka Evan Hunter), of 87th Precinct fame; the film was released in the US in 1981, three years after its completion.Read More »
A verité legal drama about Judge Kholoud Al-Faqih, the first woman appointed to a Shari’a court in the Middle East, whose career provides rare insights into both Islamic law and gendered justice.Read More »
from amazon:
The Cinema of Norman Mailer: Film is Like Death not only examines the enfant terrible writer’s thoughts on cinema, but also features interviews with Norman Mailer himself. The Cinema of Norman Mailer also explores Mailer’s cinema through previously published and newly commissioned essays written by an array of film and literary scholars, enthusiasts, and those with a personal, philosophical connection to Mailer.Read More »
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“In all chaos there is a cosmos. In all disorder a secret order.” Experimental theater director Evangeline (Molly Parker) says this to her troubled teenage star Madeline (Helena Howard) early on in Josephine Decker’s Madeline’s Madeline, and it’s a sentiment the movie both takes to heart and persistently questions. Decker’s film, the best thing I saw at Sundance this year, is built around tension and chaos: Its unruly scenes emerge out of disorder, out of chants and shrieks and fractured images, and always threaten to fade back into abstraction. The focus slips; the camera drifts. Whispers and wails intrude. A simple dialogue exchange might suddenly splinter into tight-angled close-ups of a face; a shot might disintegrate into a shimmering field of red. But one senses a method in this madness. The narrative might be shattered, but the film’s slipstream of emotion is powerful and inescapable.Read More »