The Belgian detective Hercule Poirot investigates a series of murders in London in which the victims are killed according to their initials. The first victim is A.A. the second B.B. and so on. Poirot is assisted in his investigations by Captain Hastings and Inspector Japp. Written by Mike Hatchett Read More »
The russian term “Pravda” means “truth” and also the name of the official newspaper in the USSR. The Dziga Vertov group —Jean-Luc Godard and Jean-Henri Roger— departs from this double meaning to, with images from Czechslovaquia (a czechslovaquian tv presenter, daily life scenes, workers and czechslovaquian passer-bys) show how images and sounds can lie to the spectator and to proof, at the same time, that capitalism is still strongly present in the eastern countries. Read More »
Roger Ebert sez:
The Segal character has a loving wife and kids at home, a loving mistress in the city, a manager who wants him to make lots of money, and a harassed conscience. His basic problem is that he wants to do the right thing by everybody, and can’t. How can you do the right thing by your mistress when, just by having a mistress, you’re doing the wrong thing by your wife? And vice versa, these days.
So Segal sinks into the confusions of suburban morality, substituting the martini lunch for the confessional. He can afford ethical soul-searching better than his wife, Eva Marie Saint, who gets to wrestle with the kids while he’s wrestling with his conscience. That’s part of the problem, too, even if Segal gets everything straightened out morally, his marriage may expire from exhaustion. Read More »
Philippe and Sylvie live in a mountain hotel run by their parents. Read More »
David Bowie’s first acting role was in an eerie and surrealistic silent horror short called The Image (1967) directed by British filmmaker and writer Michael Armstrong. Armstrong’s directing credits include the Tigon horror anthology The Haunted House of Horror (1969) as well as the effective and memorable Mark of the Devil (1970), which tells the story of two 17th century witch hunters (Udo Kier and Herbert Lom) and was obviously inspired by the 1968 Tigon film The Witchfinder General. Armstrong is also responsible for writing the script for Pete Walker’s horror comedy House Of The Long Shadows and co-writing Tobe Hooper’s Lifeforce with Dan O’Bannon. This list of Michael Armstrong’s credits may not seem all that impressive to your average film viewer, but it should spark the interest of some horror fans. Read More »
This is a pretty little student’s film with a peculiar background story. It was shot in spring 1968, produced by the Film- & Television Academy (dffb) of West-Berlin, which at that time was a hotbed of political turmoil. The recently founded film school played an important part during the escalation year of 1967/8. Among the students of these years were filmmakers such as Hartmut Bitomsky, Christian Ziewer, Harun Farocki and Wolfgang Petersen.
By 1967/68 the overall climate had become highly charged with politics and revolutionary fever. At least two students of that era abandoned filmmaking and turned into left-wing terrorists: the famous Holger Meins (1941-1974), who joined the RAF, and Philip Werner Sauber (1947-1975) who joined the lesser-known, but no less radical group “Bewegung 2. Juni”. While Meins died while on a hunger strike in the prison of Stammheim, the Swiss-born Sauber was killed during a shoot-out with the police in Cologne, just after he had shot to death a policeman. Read More »
Die Parallelstraße is one of the most mysterious pioneer films of the New German Cinema. It was produced by GBF, a production company for innovative industrial and promotional films and received awards in inter national film festivals. French critic Robert Benayoun called it “a philosophical thriller, a western of meditation which compensates for a whole year of inevitable manifestations of stupidity,” Jacques Rivette put it on his list of the most important films of 1968. The DVD presents for the very first time this “unjustly forgotten masterpiece of the New German Cinema” (Martin Brady) as well as several rare shorts by Ferdinand Khittl (1924-1976) which show his talent for innovative film experiments. Read More »