Plot / Synopsis
A socially inept middle-aged man is confronted with an unexpected guest even more clueless than himself in this comedy. Bob is a film critic from the Netherlands who loves and understands the movies but doesn’t have the same knack with the real world, especially the opposite sex. Bob is deeply infatuated with a woman who works at the popcorn counter of his favorite movie theater, but while she sometimes flirts with him, he’s too nervous to follow through. Bob decides he needs to be more bold if he wants to win his dream girl, but just as he’s gathering his courage to lure her back to his apartment, he suddenly finds himself entertaining an unexpected guest. Duska is an even geekier movie buff Bob met at a film festival in Russia , and he’s decided to take him up on his offer to let him stay at his flat if he’s ever in town. While Duska is cramping the style Bob is trying to develop, the larger problem is that his new houseguest seems to be planning a long-term visit and Bob doesn’t know how to get rid of him. Continue reading
„By the middle of the 70s, partly due to television, Hungarian films had lost much of their audience. The allure of disguised social criticism – one of the secret reasons why Hungarian films were so successful at foreign festivals – started to wear off. After 1968 social criticism became pointless. The first director to open up towards the audience (along with Zoltán Fábri) was Pál Sándor. Mourning the loss of left-wing ideals of freedom he recreated the illusion of a past community. The audience responded to his grotesque, nostalgic tone and the stories where the emphasis was always placed on the microclimate of human relationships. His “retro-films” were rich in self-irony. He never analysed and never criticised, he just told a story, created a poignant atmosphere and passionate characters. (Szeressétek Odor Emíliát – Love Emilia! 1968, Régi idők focija – Football of The Good Old Days 1973, Herkulesfürdői emlék – A Strange Role 1976, Szabadíts meg a gonosztól – Deliver Us from Evil 1978). Continue reading
MEANWHILE concerns Joe Fulton, a man who can do anything from fixing your sink to arranging international financing for a construction project. He produces online advertising and he’s written a big fat novel. He’s also a pretty good drummer. But success eludes him. For Joe can’t keep himself from fixing other people’s problems. His own ambitions are constantly interrupted by his willingness and ability to go out of his way for others. Continue reading
In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he’s too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute. The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello’s dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there’s nothing he can do to change it and so he might as well enjoy it. Fellini’s hallucinatory, circus-like depictions of modern life first earned the adjective “Felliniesque” in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d’Or at the Cannes Film Festival. Continue reading
Winner of the Locarno Film Festival’s 2012 Best Emerging Director award for his debut feature Ape, Joel Potrykus makes a brazen leap forward with his sophomore effort, Buzzard, a darkly comical look at a slacker office temp who gets by on cold Spaghetti’s while getting off on stealing refund checks from his employer. Filmed on a shoestring budget, often guerrilla-style, in the writer-director’s native Grand Rapids and Detroit, Michigan, Buzzard stars an unforgettable Joshua Burge as an angry young man who, through a series of small, increasingly unhinged mutinies, sticks it to corporate America on behalf of the great unsung 99%. Citing Alan Clarke, Jim Jarmusch, Michael Haneke, and Kelly Reichardt among his influences, Potrykus offers a barbaric yawp for truly independent regional American cinema. Continue reading
A man returns to the place he once lived a passionate love affair with a woman who is now dead. So powerful are the emotions that seize him that he imagines she is still alive, and begins to live as if this were the case…
INTRODUCTION BY MARGUERITE DURAS
“Woman of the Ganges” is in a way two films. Parallel to the film is played out a purely vocal film, unaccompanied by images.
To avoid any contempt, we would like to let the spectator know that the two Voices Off of women do not belong at all to the characters which appear in the images.
We can add that the characters seen in the images are entirely unaware of the existence of the two women in the story who manifest themselves only in the dialogue which they hold. Continue reading
Three poor young university student dropouts, with hardly any money left, hang around and decide to move to countryside Aomori where they stay at one of the boys small appartment. As they wander around the beach they spot a young couple and decide to rape the girl. They all feel rejected by society and try to get out of their state. One of the boys eventually gets a hold of a gun and commits suicide, while the other accidentally finds a gun and shoots at a policeman. The story was probably inspired by the figure of Norio Nagayama, a 19 year old serial killer who was convicted of killing 4 people in a cross-country murder spree in 1968 (see Masao Adachi’s movie AKA Serial Killer which is about this figure). Continue reading