In a little village somewhere in Africa, a boy named Kirikou is born. But he’s not a normal boy, because he knows what he wants very well. Also he already can speak and walk. His mother tells him how an evil sorceress has dried up their spring and devoured all males of the village except of one. Hence little Kirikou decides, he will accompany the last warrior to the sorceress. Due to his intrepidity he may be the last hope of the village. Continue reading
Marion is about to divorce from her husband and takes her 15-year-old niece Pauline on a vacation to Granville. She meets an old love…
ERICH ROHMER, ‘PAULINE AT THE BEACH’
IT is late summer on the coast of Normandy where the beaches are broad and the weather unpredictable. As always, the North Atlantic is far too cold for anyone used to swimming in the soothing warmth of tropic seas, but the afternoon sun is bright and hot and the breezes are bracing.
This is the halcyon setting of ”Pauline at the Beach,” Eric Rohmer’s effortlessly witty, effervescent new French film that opens today at the Lincoln Plaza 1. ”Pauline at the Beach” is a comedy of romantic manners about six civilized people, each of whom works stubbornly, and at cross purposes, to enlighten someone else about the true nature of love. It’s a sunny month in the country. Continue reading
REVIEW by Susan Doll (from facets.org):
The Czech New Wave rode the tide of political liberalization in Czechoslovakia that lasted throughout the 1960s, which accounted for their ability to make highly personal films in individual styles. At the same time, this generation attracted international attention and acclaim. However, they were not the only directors to benefit from the freer political climate. Older directors from the postwar period, and even those of the prewar generation, made films they probably could not have made earlier in their careers.
Witches’ Hammer (Kladivo na Carodejnice), adapted from a novel by Vaclav Kaplicky, was historical drama roughly based on actual events, but Vavra became particularly fascinated with the subject matter while researching the film. Witches’ Hammer is a tale about the witch trials in Czechoslovakia in the 17th century, which unfolds from the perspective of an educated priest. The priest watches as his village’s most prosperous citizens are arrested by the Inquisitor, who impounds their property. The priest tries to stop the false accusations and fear-mongering, but he himself is unjustly accused. As he started the project, Vavra grew increasingly interested in the history behind the witch trials-why it happened in a country that did not practice witchcraft, how the victims were manipulated into confessing to actions they did not commit, and why they begged for swift punishment. Continue reading
Gérard (26 year-old G.Depardieu in a star-making, César-nominated performance) is the he-man single father of a little baby boy who meets carefree, sensuous Valérie (ravishingly beautiful 21 year-old Ornella Muti). They feel instantly attracted to each other, she moves in with him on the spot, they fall in love, she fancies playing stepmother to the baby, he gets jealous, she wants freedom, he gets enraged, she no longer fancies constant love-making, he gets desperate, they quarrel and fight, and things disintegrate until the totally shocking finale knocks you OUT!
This film was banned mostly everywhere outside Europe, including the US – and you won’t find it in VHS or DVD for sale on Amazon, or for rent in your local store. This version is a German-dubbed one from “Arte” TV channel, English subs are included in the archive.
Set in Marseilles, this coming-of-age tale centers on a Lolita-esque teen who is a big tease to a shy Arab kid. Lila is a gorgeous 16-year-old girl who has just moved, with her rather strange aunt, into a poor neighborhood populated primarily by Arab families. The two leaders of the suburb’s main gang fall in love with her. One is the film’s poetic narrator, a quiet boy with a talent for writing named Chimo; the other is Mouloud, a headstrong punk. One day, Lila dares Chimo to look up her skirt — if he can handle it — and by doing so, puts into motion a sequence of raw, devastating events. The ensuing maelstrom that develops out of this romantic triangle reveals the dangers inherent in sexual game playing.
Glitterbug consists of film strips shot by Jarman with his Super-8 between 1971 and 1986, a format he was constantly experimenting with and made use of in the film collage In the Shadow of the Sun (1981) for example, it is an endless montage of loosely connected Super-8 sequences put together alternatively into an impressionistic shimmer of beauty, alternatively with an aggressive, rhetorical edge. The Last of England (1987), similar in a technical way, became even more famous. It was a devastating criticism of Thatcherism and of what Jarman per-ceived to be the decline of Britain. Jarman’s most distinct feature was his constant role as a man against the tide his attacks against anything considered to be part of the Establishment, whether it concerned sexual preferences or political power structures. The boldness re-appears in Glitterbug, where images from Jarman’s own everyday life in London in the early 70’s, with rooms filled with anti-cultural fetishes from the Swinging London era, are mixed with various documentaries from the making of some of Jarman’s notorious successes: the gay film Sebastiane (1975) and the punk protest Jubilee (1977). Continue reading
Sandra, a young Belgian mother, discovers that her workmates have opted for a significant pay bonus, in exchange for her dismissal. She has only one weekend to convince her colleagues to give up their bonuses so that she can keep her job.