Plot summary on imdb
Naderi’s second film is set in the slums of Tehran. Hanging out in a pool hall, Ali Khoshdast becomes involved in a brawl with three brothers, and accidently kills one of them. He runs for his life, eventually taking refuge in the home of a young woman. The victim’s brothers continue the chase, and finally close in on him. Following the murder, streets, alleys and houses that were all part of Ali’s everyday world suddenly become dangerous and hostile. Although in many ways a classic tale of revenge, Naderi uses this story to imply that an underlying violence pervades society, ready to burst forth with or without justification. Written by Anonymous Continue reading Amir Naderi – Tangna AKA Strait (1973)
Winner of the Critics Prize in Venice in 1970, Barbara Loden’s Wanda (1970) was, as the New York Times meekly puts it, “a critical hit but failed to create excitement at the box-office” (New York Times, September 6, 1980, 261).
Shot in cinema-verité style on grainy 16mm film stock, Wanda tells the story of the unlikely partnership between a coal-mining wife from Pennsylvania (played with sensitivity and brio by the filmmaker herself), dumped by her husband and the men she met while drifting, and a petty crook on the rebound (Michael Higgins), who convinces her to pull a major “bank job” with him. The film was released in one theatre in New York, Cinema II, and never shown in the rest of the country (Interview, Proferes). Ten years later, Wanda was “already forgotten in the United States,” but “much admired in Europe” (Kazan, 1988, 807). It was screened in the “Women and Film” event at the 1979 Edinburgh Film Festival and in Deauville in 1980. Loden died of cancer on September 5, 1980, “the day [she was] booked to fly to Paris-Deauville. Her death was announced from the stage of the Festival” (Kazan, 1988, 809). Continue reading Barbara Loden – Wanda (1970)
A sequel to Laleli’de Bir Azize, and with the collaboration of practically the same team, Gemide is the story of four sailors who sit around the ship and spend their time smoking pot. Their routine life turns upside down when one of them gets mugged and badly beaten. Continue reading Serdar Akar – Gemide AKA On Board (1998)
Two young women, marginalised by society, go on a destructive tour of sex and violence. Breaking norms and killing men – and shattering the complacency of polite cinema audiences.
Baise-moi (Fuck Me) is a 2000 French thriller film written and co-directed by Virginie Despentes and Coralie Trinh Thi and starring Karen Lancaume and Raffaëla Anderson. It is based on the homonymous novel by Despentes, first published in 1999. The film received intense media coverage because of its graphic mix of violence and explicit sex scenes. Consequently, it is sometimes considered an example of the “New French Extremity”. Continue reading Virginie Despentes & Coralie – Baise-moi AKA Fuck Me (2000)
When filmmakers possess a signature style that can be identified across their body of work, they are sometimes referred to as an auteur of cinema. It’s a term that might get banded around too frequently, but one that is often used when discussing Icelandic visionary Baltasar Kormákur. His latest feature is crime thriller The Oath, a personal project which he amazingly produces, directs, co-writes and stars in. The story follows family man heart surgeon Finnur (Kormákur) who tries to rescue his daughter Anna (Hera Hilmar) from her thuggish boyfriend Óttar (Gísli Örn Garðarsson) when she becomes entangled in his dangerous, criminal lifestyle. Continue reading Baltasar Kormákur – Eiðurinn AKA The Oath (2016)
A great Iranian film , unfortunately unknown in and out of Iran, 23 April 2008
Author: Armand Erfanian from United Kingdom
*** This review may contain spoilers ***
Farar az Tale is an unknown film out of Iran. Even in Iran nobody remembers of this beautiful little masterpiece. There are so many successful visual and musical devices all along the film. The first one is just at the opening and before the opening credits. A man is dropped on the street. Another man tries to see if he is still alive. In finding that he is not, he turns his head towards Morteza (Behrooz Vosooghi) and by his eye expression lets him know that. All that in silent cinema and taking only 23 seconds. That is truly cinema, The art of image! Then the opening credits start, during which we see Morteza in prison, his moustaches are little by little growing. This is economy of great cinema. Using the time of the credits for letting us know that he is in prison and making us feel the length of his stay. The proper plot will begin now, when he comes out of prison and looks for his beloved woman Mehri (Nilufar). Another great moment of the film is when Morteza is looking for a solution to find somehow the 10 000 tomans that he needs to give to the man who married his beloved to get her divorce. Now wandering in the city and its outskirts he walks, stops and sits and looks at people working. Great music of Rubik Mansuri covers this sequence, and still shots or pans get dissolved to each other and gives us impression of boring time that Morteza is experiencing under the hot sun of the South. Iranian cinema is full of so great films… It is a pity that they don’t get any chance to be known… The actors, Behrooz Vosooghi, Davood Rashidi and Abbas Nazeri are absolutely great. Continue reading Jalal Moghadam – Farar az Taleh AKA Escape From The Trap (1971)
Poldo, a lowly security in a publishing firm, dreams to be rich. He becomes the personal bodyguard to his employer’s son, Sonny, when he impresses the latter with his courage and skills during a quarrel where Poldo defended Sonny. Poldo gets a taste of his boss’ carefree and extravagant lifestyle and thinks that he accepts him as a friend. In one of the nightclubs they frequent, Sonny is smitten by dancer Cristy and aggressively pursues her despite a warning from San Pedro, the movie director with whom Cristy has an affair. When they chance upon each other, Sonny and San Pedro fight. Poldo comes to his boss’ rescue and guns down San Pedro. In subsequent circumstances, Poldo would soon arrive at a bitter realization. As he could not see in Sonny the benefactor that he pictured him to be, Poldo finds himself alone, abandoned and betrayed. Continue reading Lino Brocka – Jaguar (1979)