A group of teens are having a fun night out at a bar until a gang takes the entire clique hostage. They torture the boys and rape the girls. After that night, nothing is the same anymore and the group has massive difficulties dealing with the situation. This movie is a very realistic expression of the outcomes of social stratification, poverty, and inequality on different parts of the society. In this movie, you are let into the minds of whom many like to refer to as psychopaths and see the world from their eyes. You understand their reasoning, loss of aim and the slow transformation from troubled people to those -after having been made to accept being outsiders- who have lost everything they have and thereof can do anything, regardless of any value and concept associated with humanity such as love, affection, empathy,honor,self-respect. The psychos in the movie hadn’t committed any crime till the story, none was recorded a least. And the crime committed the night of the story was not planned. This alone explains the threshold concept.
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Description: Welcome in the underworld, on your left there’s some gangsters, on your right be careful there’s shootings, murders, betrayals… Enjoy the jazzy mood !
Three killers stole money and drugs from a gangsters meeting. They left with a hostage and a lot of dead bodies behind. Well, that’s not a big deal for them, they stay relax, and don’t rush to sell the drugs. After the massacre, they just go back to their flat and spend a good time. Except one of them, who decides otherwise. He’s tired of staying there doing nothing, and so leave with the hostage. Does he want to start his life again or he’s just too ambitious ? Continue reading
Love is Colder Than Death was Rainer Werner Fassbinder’s first feature-length film (he had directed two shorts three years earlier: The Little Tramp and The Little Chaos), the story of a small-time pimp, Franz (Fassbinder), and his complicated relationship with his prostitute girlfriend, Joanna (Hanna Schygulla), and a criminal associate, Bruno (Ulli Lommel), who mysteriously and erotically enters their lives. Had the film been made at a later point in Fassbinder’s all-too brief but remarkably illustrious and prolific career, the film’s static aesthetic could have been read as a deliberate attempt on the director’s part to show his critics that his camera need not move on inch to convey the same rapturous feeling of his greater films. Except Love is Colder Than Death is not a great Fassbinder film. Continue reading
Mahjong (1996) is in many ways Yang’s greatest Satire, but has, at the same time, the beating pulse of a real dramatic story. In plays on the perception of Taiwan by foreign entities, urban locales, love, father/son relationships, and of course, themes of business & greed that Yang most vehemently loathes. The story is told through a variety of different viewpoints, but we are centered on a small gang of friends/hustlers, apparently led by Red Fish (Tang Congsheng), and consisting of Luen-Luen (Ke Yulun), a gentle-hearted translator, Hong Kong (Chen Chang of Crouching Tiger fame), a ladies man who is able to charm his way into any woman’s pants, and Little Buddha (the same actor who played “Cat” in Yang’s A Brighter Summer Day), a fake Feng-Shui expert who is used in the gang’s various scams. A French woman named Marthe (Virginie Ledoyen) – Yang plays very craftily on the similarity of the name ‘Marthe’ with ‘Matra’, the defunct subway system in Taiwan that is milking the city of its funds – comes to urban Taipei looking for her “lover”, a British man named Marcus. The plot eventually shows us Marthe’s eventual relationship with Red Fish’s gang (and Luen-Luen), but also reveals a variety of interesting narrative twists and turns concerning Red Fish and Hong Kong. Continue reading
With Unit 7, Alberto Rodriguez paid homage to his native Seville whilst producing a fine urban thriller. Now he does the same for rural Spain, moving an hour south to the marshlands of Andalucia. While 7 was explosive, Marshland is noirishly tense on different levels, its tight focus on character, its realism, it’s sense of place and its social critique adding up to a grippingly intense whole — and that’s not to mention it’s satisfyingly twisting plotline. Though puzzlingly it’s been overlooked by the Spanish Film Academy as the country’s foreign film nomination, Marshland merits international exposure as an example of both one of the year’s best Spanish-language films and of how to fold significance into genre. Continue reading
Based in part on detective-fiction writer Dashiell Hammett’s early experiences as a Pinkerton detective, this moderately-noir film has Hammett (using his little-known first name, Sam) involved in an elaborate extortion plot by his former detective agency mentor, Jimmy Ryan. Ryan shows up at Hammett’s San Francisco digs searching for a mysterious Chinese girl, Crystal Ling. He calls in a marker from Hammett’s days at the detective agency to get his help in finding the girl, who turns out to be a very sexy and shrewd former prostitute and porn star. She has photographs of San Francisco’s most influential citizens engaged in sexual fantasy with her and she means to turn them into a million-dollar payday. The tubercular Hammett must cope with an unfriendly police force, a mysterious gunsel intent on inflicting serious harm, and betrayal by supposed friends; to save the reputations of the powerful while tweaking their collective noses
Written by Joe Jurca, imdb.com Continue reading
A wounded criminal and his dying partner take refuge at a beachfront castle. The owners of the castle, a meek Englishman and his willful French wife, are initially the unwilling hosts to the criminals. Quickly, however, the relationships between the criminal, the wife, and the Englishman begin to shift in humorous and bizarre fashion. Continue reading