Aleksandr Gintsburg – Giperboloid inzhenera Garina AKA Engineer Garin’s Hyperboloid [+Extra] (1965)

29f7c043f76a2bde437fd0d52a185152

Synopsis:

The year is 1925. Professor Mantsev invents a weapon of a formidable destructive force never seen before – a hyperboloid that strikes dead with a beam… Engineer Garin steals this prototype of the modern laser gun, with the aim to use it for the realization of his insane idea of become the ruler of the world, with no inkling of the consequences that would be dangerous for him, too. A hunt for Garin and Mantsev’s dangerous invention begins… Continue reading

François Truffaut – Domicile conjugal AKA Bed and Board (1970)

29f7c043f76a2bde437fd0d52a185152

Quote:
So here he is for the last time, Antoine Doinel, who has grown up like the rest of us and has finally, apparently, found conjugal peace. He has changed a lot along the way. Francois Truffaut first introduced Antoine in “The 400 Blows” (1959), his first feature. The character was roughly based on Truffaut’s own youth and adolescence, when he was the next thing to a juvenile delinquent and prowled the streets of Paris.

“The 400 Blows,” with Godard’s “Breathless” (1960) and Chabrol’s “Le Beau Serge,” inaugurated the French New Wave and changed the face and style of filmmaking almost overnight. But we don’t remember “The 400 Blows” for historical reasons; we remember it because, for many of us, it was our first taste of personal, almost intimate, filmmaking. Continue reading

Miyoji Ieki – Robo no Ishi AKA The Wayside Pebble (1964)

29f7c043f76a2bde437fd0d52a185152

Synopsis:
The Wayside Pebble is an effective drama about the hardships of a childhood spent with a brusque, cold-hearted father and a submissive mother. The year is 1910 and the place is a small Japanese village. Goichi is suffering because he wants to go to school, but his family is too poor to afford that luxury. Even when a kind friend agrees to help out, Goichi’s father refuses to give in to his son’s request for an education. Instead, he sends Goichi off to work as an indentured servant for a cold-hearted merchant and his family. As tragedy strikes and the suffering of the young boy increases, he begins to look for some way out of his bleak situation. Continue reading

François Truffaut – Jules et Jim (1962)

29f7c043f76a2bde437fd0d52a185152

Quote:
Hailed as one of the finest films ever made, Jules and Jim charts, over twenty-five years, the relationship between two friends and the object of their mutual obsession. The legendary François Truffaut directs, and Jeanne Moreau stars as the alluring and willful Catherine, whose enigmatic smile and passionate nature lure Jules (Oskar Werner) and Jim (Henri Serre) into one of cinema’s most captivating romantic triangles. An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, Jules and Jim was a worldwide smash in 1962 and remains every bit as audacious and entrancing today. Continue reading

Franco Piavoli – Poesie in 8mm AKA Poems in 8mm [+Extras] (1954-1964)

Description
Poems in 8mm are the early works of Franco Piavoli, digitally restored. Independent short films, captured with a simple Paillard camera, involving no crew and no production. In this collection, one can find Le Stagioni (The Seasons), precursor to Il Pianeta Azzurro (The Blue Planet), Emigranti (Emigrants), a short on immigration in Milan during the Sixties, Domenica Sera (Sunday Evening), and the experimental Evasi (Convicts). These titles, up to this point unavailable to the public in an edition that respects the original state of the film. This also goes for the Piavoli’s first work, Ambulatorio (Surgery), described by the director as mere playing around with the camera. Without music and words, it is nonetheless revealing of an artistic sensibility that would soon show itself in full splendour. Continue reading

Billy Wilder – The Fortune Cookie (1966)

29f7c043f76a2bde437fd0d52a185152

Synopsis by Hal Erickson
The British title of Billy Wilder’s classic comedy was Meet Whiplash Willie — for, despite Jack Lemmon’s star billing, the movie’s driving force is Oscar-winning Walter Matthau as gloriously underhanded lawyer “Whiplash” Willie Gingrich. CBS cameraman Harry Hinkle (Lemmon) is injured when he is accidentally bulldozed by football player Luther “Boom Boom” Jackson (Ron Rich) during a Cleveland Browns game. Willie, Harry’s brother-in-law, foresees an insurance-settlement bonanza, and he convinces Harry to pretend to be incapacitated by the accident. To insure his client’s cooperation, Willie arranges for Harry’s covetous ex-wife Sandy (Judi West) to feign a rekindling of their romance. Harry’s conscience is plagued by the solicitous behavior of Boom Boom, who is so devastated at causing Harry’s injury that he insists on waiting on the “cripple” hand and foot. Meanwhile, dishevelled private eye Purkey (Cliff Osmond) keeps Harry under constant surveillance, hoping to catch him moving around so the insurance company can avoid shelling out a fortune. Wilder and usual co-writer I.A.L. Diamond were at their most jaundiced and cynical here, even if, after a sardonic semiclimax, the last ten minutes succumb to the sentimentality that often marred Wilder’s later movies. Continue reading

Yves Boisset – Un condé Aka Blood On My Hands AKA The Cop (1970)

29f7c043f76a2bde437fd0d52a185152

Synopsis:
‘Dassa, a bar owner who refuses to sell drugs to his customers, is killed by men working for Tavernier, a gangster known as Le Mandarin. Dassas’s sister Hélène is also in danger, for the same reasons. Inspector Favenin and the young inspector Barnero are put in charge of the case. Dan Rover, one of Dassa’s friends, engages the services of a man named Viletti to kill Tavernier. Another man, Raymond, is willing to provide an alibi if necessary. Barnero has grown disillusioned with his job and wants to leave the police service, but first he intends to arrest Tavernier. One day, Favenin and Barnero fail to prevent Viletti from killing Tavernier, and Barnero gets himself killed in the process. Favenin is given permission by his superior to continue the investigation alone. What nobody realises is that Favenin is ready to act without mercy and employ some very unconventional methods to achieve his aims…’
– Henri Willems Continue reading