Marital fidelity can wear you down, and Ondra (Hynek Čermák) and Vitek (Jiří Langmajer) are certainly suffering from a case of serious fatigue. Working side by side and living next door to each other, it doesn’t take long before these two long-married middle-aged pals start comparing sex notes, and it’s plain to see their latest scores have fallen far below what they would have hoped. Luckily, a surprise holiday on a tropical island rekindles their interest in their wives — only they don’t exactly lust after their designated partners. With no one to divert their attention, their roaming eyes inevitably settle on the wrong spouse, and pretty soon they’ve established their own little Holy Quaternity. The new film from Jan Hřebejk, director of the Academy Award®–nominated Divided We Fall, is an observant and audacious look at the measures some couples will take to revive desire. Ondra and Vitek’s irrepressible joie de vivre makes it impossible to pass judgment, even when the two couples break their own rules by fooling around behind each other’s backs. Parents to two sets of hormonally charged teenagers who endlessly circle each other in a clumsy pre-coital ritual — Vitek has two girls, Ondra two boys — the adults soon put their kids to shame by secretly straddling the fence that divides their communal front yard. Continue reading
Playwright, actor, director, and theatre scholar Girish Karnad conceived this film as a popularly-accessible tribute to the glories of Sanskrit drama, turning one of the most beloved of classical plays, the ca. 5th century “Little Clay Cart” (ascribed to Shudraka) into a contemporary spectacle with A-list stars and music by major filmi composers. Lavish sets and costumes, jewelry and hairstyles, all inspired by classical paintings and sculptures, evoke the glories of the Gupta age, while saucy dialog in contemporary (if properly Sanskritized) Hindi recreates the playwright’s satirical vision of the demimondaine world of the city of Ujjayini. By reminding viewers that, for ancient Indians, “pleasure” and “profit” (kama and artha) were right up there with “virtue” (dharma) among the principal Aims of Life, the film can serve as a refreshing antidote to the over-emphasized philosophical and mystical preoccupations of the much-studied texts of the classical period (e.g., Bhagavad-gita). Its Rabelaisian cast of characters — the voluptuous and talented courtesan, witty cat burglar, pompous monk, wild-eyed revolutionary — mirror those found in the worldly-wise story anthologies of the classical period (such as those translated in J. A. B. van Buitenen’s Tales of Ancient India), and thus bring to life their urbane world of fleshly delights. Continue reading
Doralice is a simple minded woman romantically fascinated by marriage. However, when she is raped by a butcher, a friend advises her to become a prostitute – and she does it. After that, all her wishes and longings will curl up into a fascinating vortex. Continue reading
Plot Summary: In spring 1976, a 19-year-old beauty, her German-born mother, and her crippled father move to the town of a firefighter nicknamed Pin-Pon. Everyone notices the provocative Eliane. She singles out Pin-Pon and soon is crying on his shoulder (she’s myopic and hates her reputation as a dunce and as easy); she moves in with him, knits baby clothes, and plans their wedding. Is this love or some kind of plot? She asks Pin-Pon’s mother and aunt about the piano in the barn: who delivered it on a November night in 1955? Why does she want to know, and what does it have to do with her mother’s sorrows, her father’s injury, this quick marriage, and the last name on her birth certificate? Continue reading
Likely to cause a stir because of its explicit scenes of orgies and coke snorting, what really separates The Principles Of Lust from the crowd is its edgy, dark atmosphere that combines conventional Hollywood thrillers about sociopaths – eg. Fight Club, Bad Influence – with a distinctly British, rough and ready feel.
Firing on all cylinders, debut feature director Penny Woolcock – who once made waves with the Channel 4 drama Tina Goes Shopping – delivers a film that’s too insistent on being distinctive and dream-like to really hold together as a coherent drama. Instead, it joins a select group of recent low-budget British cinema – from The Last Great Wilderness to This Is Not A Love Song – that dares to say no to the conventions of Hollywood filmmaking while damning the consequences. Continue reading
While vacationing in Greece with her second husband, Louis Silverman (although she wasn’t all that keen in taking his surname in marriage, director DORIS WISHMAN was more than happy to add her hubby’s handle to her ever-expanding list of pseudonyms), Wishman stumbled upon a small-time film company in desperate need of funds, ultimately returning home with the rights to The Hot Month of August and Passion Fever – purloining both productions for less than $4000. En route back to New York, Doris absentmindedly left her briefcase containing both August and Fever’s translated scripts on a train, forcing her to rewrite the narratives from scratch while overdubbing the original dialogue (a prevalent practice throughout her entire career). Continue reading
In th e Realm of Sex is a 1977 Roman Porno film directed by Masaru Konuma and starring Natsuko Yashiro and Asami Ogawa. It is a comedy satirizing the Roman Porno genre, and the Office Lady Journal series in particular. Naomi Tani and Yuko Katagiri appear as themselves in the film, making fun of their on-screen personas. Continue reading