Plot / Synopsis
Written, directed and produced by René Féret, MOZART’S SISTER is a re-imagined account of the early life of Maria Anna “Nannerl” Mozart (played by Marie Féret, the director’s daughter), five years older than Wolfgang and a musical prodigy in her own right. Originally the featured performer, Nannerl has given way to Wolfgang as the main attraction, as their strict but loving father Leopold tours his talented offspring in front of the royal courts of pre-French revolution Europe. Approaching marriageable age and now forbidden to play the violin or compose, Nannerl chafes at the limitations imposed on her gender. But a friendship with the son and daughter of Louis XV offers her ways to challenge the established sexual and social order. Continue reading
After witnessing the brutal murder of an elderly lady, a man has an encounter with a bizarre woman who claims to an old lover of his… A lover who apparently committed suicide years ago. Continue reading
Hitler’s Madman is based on an all-too-real wartime atrocity. John Carradine portrays Heydrich, the vicious SS officer put in charge of Nazi-occupied Czechoslovakia. Heydrich is killed by the Czech underground, prompting the Nazis to plan a horrible retaliation. The Gestapo selects the Czech village of Lidice for annihilation: They kill all the male villagers, throw the women and children into concentration camps, and torch Lidice into nonexistence. The victims of Nazi tyranny become martyrs to the underground cause, ending the film on a note of triumph. Based on a narrative poem by Edna St. Vincent Millay, Hitler’s Madman was produced by the “poverty row” PRC studio, but was sold to MGM and given a class-A presentation at choice theatres throughout the U.S. Continue reading
Synopsis: While a woman is in the hospital preparing to deliver her child, her husband has all day to reflect upon his wife and their relationship. As he tends to his job as a television repairman, Slavek fondly remembers how he first met Ivana and the days they spent getting to know one another. Slavek also grows increasingly aware of the environment that surrounds him and questions the society his new child will be entering. Loaded with a repeated plea for social change, this is the first feature from Czech writer/director Jaromil Jires. (Kristie Hassen, allmovie) Continue reading
The film deals with the tragedy of the women survivors of the Srebrenica genocide, or rather, the consequences of the horrors they experienced – it is about women whose sole purpose in life is to locate the bones of their loved ones and give them a decent burial. Fifteen years later, they still want just one simple thing – the truth. As a contrast, the film deals with trivialities of modern living, obsessed with different reality shows… Written by Anonymous Continue reading
An classic film by film studio LVN, largely because of shining performances by Rosa Rosal and Tony Santos. It won the award for best direction (Lamberto V. Avellana, National Artist for Theater and Film in 1976), best story (Rolf Bayer), best editing (Gregorio Carballo), and best cinematography (Mike Accion) at the 1957 Southeast Asia Film Festival held in Tokyo.
A story about the Badjaos and the Tausogs, rival tribes for centuries. The Badjaos, a group of sea gypsies, ply the sea for food and for pearls.
Hassan (Tony Santos), a son of the Badjao chief falls in love and marries Bala Amai (Rosa Rosal) who is a niece of Datu Tahil (Jose de Cordova), head of the land-dwelling Tausogs. At the urging of Bala Amai, Hassan decides to leave his tribe and join the Tausogs.
Eventually, Datu Tahil learns of Hassan’s expertise in finding rare pearls in the sea, thus exploiting him for his own selfish interests. Hassan and Bala Amai resist him, feeling that their self-respect have been trampled on. They decide to go back to the Badjaos and lead a more humble, but nevertheless peaceful life. the Badjaos accept them with all their hearts. Continue reading
Nominated for an Academy Award, Claude Sautet’s ‘A Simple Story’
(Une Histoire Simple) examines the behavior of its characters as
dictated by their environment. Romy Schneider plays Marie, a
fortysomething working woman whose tiresome existence has
prompted her to inaugurate an affair. Marie eventually parts with her
lover, aborting the pregnancy resulting from her liaison. She pauses
long enough to take stock of her current situation, and to muse on its
possible outcome. Though exuding star quality throughout, Romy
Schneider is thoroughly believable as the essentially ordinary,
nonspectacular heroine. Her behavior is not that of a wealthy
play-actress but a genuine bourgeois woman emotionally hemmed in
by her social strata. [Hal Erickson] Continue reading