Marialy Rivas – Joven y alocada AKA Young & Wild (2012)


Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony. Read More »

Mikhail Kalatozov – Zagovor obrechyonnikh aka Conspiracy of the Doomed (1950)

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From a biography of Kalatozov: (link)

/…/ During the late 1940s Ц early 1950s when not many movies were shot in the country, Kalatozov was granted the State Award (1951) for his film Zagovor obrechyonnikh (Conspiracy of the Doomed, 1950), a political pamphlet after the same-name play by N. Virta, starring the uncomparable Russian singer Aleksandr Vertinsky. /…/ Read More »

Jose Eduardo Belmonte – A Concepcao aka The Conception (2005)


Alex, Lino and Liz, three sons of diplomats, live together in Brasilia enjoying the freedom inside an empty apartment with no parents, seemingly unaware of the world outside. Their lives change irrevocably when they meet ‘X’, a person with no name or past, who suggests taking the idea of living every day as it was the last one. For that to happen they form a new movement – THE CONCEPTION, having a revolutionary creed: Death to the ego, be a new character every day, lose your memories, abolish money, have excesses all the time. The world becomes a great theatre, the conceptualist is someone that makes up characters which last only 24 hours. Read More »

Daniele Ciprì – È stato il figlio AKA It Was the Son (2012)


It Was the Son is the story of the Ciraulos, a poor family from South Italy whose young daughter is mistakenly killed by the Mafia. As compensation, they receive a large amount of money from the State but this sudden richness will change their life in a completely unexpected way. Read More »

David Hugh Jones – Betrayal (1983)


The film version of what is widely regarded as one of Nobel Prizewinner Harold Pinter’s greatest plays. Betrayal traces a seven year affair played out in reverse – from its poignant end to its illicit first kiss. This version is from it’s first British TV screening and is upped to celebrate 50 years of Harold Pinter plays. In 1958 Harold Pinter wrote the following:
“There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.” The film is little more than the stage play on celluloid and has great performances from Ben Kingsley, Patricia Hodge and Jeremy Irons. The silence after the opening credits is intentional. Read More »

Detlev Buck – Same Same But Different (2009)


Based on the true story of Benjamin Prufer and Sreykeo Solvan. The unexpected and uncertain love story of Sreykeo, a 21 year old bar girl in Phnom Penh and Ben, a young German student traveling to Cambodia on a post graduation summer trip. When Ben returns home to Germany he discovers that Sreyko is sick and he takes on the responsibility to save her. On the way he discovers a world where not everyone is dealt the same cards and where motivations are not always pure. Read More »

David Hugh Jones – The Merry Wives of Windsor (1982)


Making its debut with Romeo and Juliet on 3 December 1978, and concluding nearly seven years later with Titus Andronicus on 27 April 1985, the BBC Television Shakespeare project was the single most ambitious attempt at bringing the Bard of Avon to the small screen, both at the time and to date.

Producer Cedric Messina was already an experienced producer of one-off television Shakespeare presentations, and was thus ideally qualified to present the BBC with a daunting but nonetheless enticingly simple proposition: a series of adaptations, staged specifically for television, of all 36 First Folio plays, plus Pericles (The Two Noble Kinsmen was considered primarily John Fletcher’s work, and the legitimacy of Edward III was still being debated).

The scale of Messina’s proposal, far greater than that of previous multi-part Shakespeare series such as An Age of Kings (BBC, 1960) and Spread of the Eagle (BBC, 1963), required an American partner in order to guarantee access to the US market, deemed essential for the series to recoup its costs. Time-Life Television agreed to participate, but under certain controversial conditions – that the productions be traditional interpretations of the plays in appropriately Shakespearean period costumes and sets, designed to fit a two-and-a-half-hour time slot. Read More »