Father Maurizio, a priest living in a residential college for priests in Rome, and who is having a tormented love story with a young woman (ever beautiful Stefania Sandrelli), is called out one day to “exorcise” the devil from someone.
The devil turns out to be in the form of a fun-loving man, who calls himself Giuditta, the name of the fat woman he “possessed”.
What Father Maurizio doesn’t know is that this type of devil will turn his life upside down.
The devil, quite young and inexperienced, will try to learn his way into this world by imitation, generating havoc to no end. Continue reading Roberto Benigni – Il Piccolo diavolo AKA The Little Devil (1988)
Plot / Synopsis
Following a mysterious decapitation (via mechanical digger) of an insurance investigator, Police Inspector Peretti is put onto the case. Slowly more people are found dead… a man supposedly commits suicide, a women is strangled, another attacked in her flat… but all the clues lead to an unsolved case of kidnapping and murder. Can Peretti find the murderer, if his major clue is a little girls drawing??? Continue reading Tonino Valerii – Mio Caro Assassino AKA My Dear Killer (1972)
This film from Turkmenistan belongs to an edition of ten films from Central Asia that were shot both during the Soviet times and during the independence epoch. This collection contains 2 films of each country.
This collection was edited in 2006. It was released by the Center of Central Asian Cinematography with the financial support of “Arts and Culture” Network Program of Open Society Institute of Budapest. You will have english subtitles for each film. Continue reading Hodzhakuli Narliev – Nevestka AKA Daughter in Law (1972)
A poetic docu-drama based on real events witnessed by Armenian master Khachatryan. He reflects on the tragedy that befell his people during the conflict between Armenia and Azerbaijan in the 1990s, after the Soviet Union fell apart. He does so without words or indeed human protagonists, through the story of a buffalo who is found stuck in a ditch in the countryside. He is brought to a nearby farm where animals, farmers and refugees are gathered to hide and recover from the conflict. All regard him with great suspicion. We follow life on the farm and in the surrounding villages through the eyes of the buffalo over the course of a year, with the changing of the seasons and the slow rhythm of the place. (WARSAW FILM FESTIVAL) Continue reading Harutyun Khachatryan – Sahman AKA The Border (2009)
“DEADLOCK is fantastic. A bizarre, glowing film.” – Alejandro Jodorowsky
WARNING: SPOILERS AHEAD!
A Sort Of Modern German Version Of “The Good, The Bad, And The Ugly”, 11 September 2000
Author: jlabine von San Francisco
In 1970, it seems as if Roland Klick set out to emulate Sergio Leone’s “The Good, The Bad, And The Ugly”, mixing it with Michelangelo Antonioni’s “Zabriskie Point” to create a modern Sauerkraut Western (without horses, but rather a truck and a car). The story stars three characters, Marquard Bohm as the “Kid” (The Good), Siegurd Fitzek as “Mr. Sunshine” (The Bad), and Mario Adorf (can be seen in Dario Argento’s “The Bird With The Crystal Plumage” as the reclusive cat eating painter) as “Mr. Dump” (The Ugly) (who again plays a reclusive man who lives in a dump??). The story begins with the Kid, who has just pulled off a heist (with a bullet wound in the arm), and is carrying millions of dollars in a case. Wandering aimlessly through the sunbaked desert, (he finally passes out and is left for dead) until Mr. Dump drives along and finds him and the money. Once back at Mr. Dump’s residence (a sort of abandoned junk yard), the Kid warns Mr. Dump, that Mr. Sunshine (who apparently is the ringleader of this heist) will be coming for his money. Thus begins the cat and mouse story, of who will get the case of money. Mr. Dump also has two neighbors, an older (and apparently sexually crazy) woman and her pretty (but feral) daughter (who is obviously sexually curious of the Kid).
Continue reading Roland Klick – Deadlock [+Custom Extras] (1970)
Description: On December 14, 1825 the military units of the Russian army were supposed to swear their allegiance to the new czar, Nicholas I. But the young officers, the most liberal-minded people of their time, who abhorred the terrors of serfdom, decided to raise their regiments against the autocracy and bring democracy to the country. That was a great heroic feat of the best sons of Russia. However, the revolt had been brutally crushed. Some of its inspirators were executed, many sent to hard labor in Siberia. Following the convicted officers to Siberia were their wives who had left their aristocratic families and comfortable lifestyles. The film is dedicated to those remarkable Russian women. Continue reading Vladimir Motyl – Zvezda plenitelnogo schastya aka The Captivating star of happiness (1975)
From the article linked to above:
Ruiz’s Poetics of Cinema must be one of the strangest and most interesting works on the cinema ever to be written. While addressing many contemporary issues around the politics of the entertainment industry, globalisation and the powers of audiovisual images, this work also draws on discourses as untimely as ancient treatises on Chinese painting and the 16th century occult theories of Ramon Lull. But perhaps what is most striking about Poetics of Cinema is its composition in which not only diverse theories and reflections are combined but that they are done so frequently in the form of theoretical fictions as delirious as Ruiz’s cinema itself, that completely blur the boundaries between the real and the imaginary, the true and the false. This has led several critics, notably, Christine Buci-Glucksman to make direct links between Ruiz’s aesthetics and the Baroque, rather than more contemporary aesthetic movements such as Surrealism (Buci-Glucksmann, 9-41). As Laleen Jayamanne has pointed out, Ruiz may use the “decorative and stereotypical aspects of Surrealism” but he rejects its underlying metaphysics in favour of a Baroque “allegorical system” (224). The crucial difference between the Baroque, as Ruiz understands and employs it and the ethos of cinematic Surrealism, is the replacement of the motto “everything is fundamentally simple” with its opposite “everything is fundamentally complex”. Jayamanne emphasises that cinema, for Ruiz, is an allegorical system inhabited by ghosts, zombies and the dead, which operates by a “perverse logic” (224) or a “baroque […] multiplication of points of view, of an object, of a space, [of] a body” (225). Already this affinity between the complexity of the Baroque and perversion is apparent: for Ruiz, Surrealism is inferior to the Baroque because it remains too French, or in other words, fails to be complex or perverse enough. Continue reading Raoul Ruiz – Poetics of Cinema 1 (1996)