In this epic tale of wrongdoing and retribution set in 16th-century Cévennes, Michael Kohlhaas starts out as a successful, well-to-do horse trader with a loving family. The once unshakable feudal system is slowly declining, and when a local nobleman humiliates Kohlhaas and seizes two of his horses, he retaliates by gathering an army and embarking on a Robin Hood-esque mission to have his revenge against the baron. Kohlhaas’s actions become more and more violent and extreme, and the repercussions increasingly devastating. Based on Heinrich von Kleist’s classic German Romanticist novel, the story of Michael Kohlhaas previously inspired a 1969 film by Volker Schlöndorff. With gorgeous widescreen cinematography, skillful stunt work, and a powerful score, “Age of Uprising: The Legend of Michael Kohlhaas” is a stunning period piece that also raises important questions of faith and morality. ~ psfilmfest Continue reading
Lars von Trier´s direction makes this film a shocking look into the disturbed mind of a woman who has been scorned and left. Medea´s revenge is horrible but never unbelievable. She does what every sane person would do, when deprived of all that she loves. The film burns itself into your mind and leaves you with a lasting impression of what human misery can be like. Continue reading
As exciting as any Hollywood epic, Chronicles of the Years of Embers follows a poor peasant from his drought-stricken village through his first encounters with colonialism, his service in the French army in World War II and finally his participation in the nascent Algerian resistance movement. Rich and inventive, this wide-screen epic is an ambitious historical fresco of the years leading to the outbreak of the Algerian War of Independence. A rare treat this gem of world cinema has not been previously released commercially and has not been made available on video in the United States.
Mamay draws on traditional Ukranian and Tatar folktales for its Romeo and Juliet-like love story and parable about chivalry and the struggle for freedom. Hundreds of years ago, in the wild steppes of Crimea that form an uneasy border between East and West, Europe and Asia, nomad and farmer, the proud Cossack Mamay falls in love with the Tatar beauty Omai. The title, like the storyline, holds a variety of different meanings taken from different cultures. In Turkic languages, it means “no one,” but it was also the name of a famous Mongol conqueror, the great grandson of Ghengis-Khan. In Persian legends, mamay literally means “the spirit of the steppes”. Continue reading
Leader of a traveling gypsy band from the steppes of Bessarabia (now Moldova), Toma Alistar is a skilled violinist whose fame takes him on tours around European capitals and royal courts. He remains obsessed with his first love, beautiful Leanca who was married elsewhere while Toma was traveling, and spends his life and fortune trying to find her. Written by Markku Kuoppamäki Continue reading
Entertaining fantasy-based peplum, starring American actor Roger Browne as the God of War.
The king of Telbia defeats an African army through the intervention of the war god Mars. Remaining on Earth, Mars falls in love with the human girl Daphne, but she is forced to become a priestess in the temple of Venus. Mars tries to free her, but falls under the spell of Venus, who keeps him prisoner. Daphne, meanwhile, having violated the sanctity of the temple, is condemned to be devoured by a monster.
Director Marcello Baldi composes his shots to make full use of the Totalscope image, making this picture a must in widescreen. Highlights include the opening battle between the Greek and African armies and a Little Shoppe of Horrors-type plant monster to whom maidens are sacrificed. Continue reading
Italian film’s early master of the historical spectacle, Enrico Guazzoni, was responsible for the second of (at least) three film adaptations of Nicholas Patrick Wiseman’s classic novel about Christianity’s rise in ancient Rome. Aside from the usual great production values of these silent epics, what surprises here is perhaps the rather graphic violence. And, the film is further notable for being Elena Sangro’s debut (when she was still going by the name Maria Antonietta Bartoli-Avveduti) in the title role no less. Continue reading