A wolf strives through the woods around an isolated German village. Jakob the young local police officer is onto him, but scents something more in the darkness. What he finds is a man, it seems, wild eyed, of wiry build, in a dress. He carries a katana, a Samurai sword. When the Samurai invites Jakob to follow him on his crusade towards the village, it becomes Jakob’s mission to pursue the lunatic to end this wanton destruction. At the end of the night Jakob has experienced too much, is too far from whom he once was. Something hidden has been unleashed to meet the first rays of daylight. – imdb.com
Berlin International Film Festival 2014: DIALOGUE en Perspective (Nominated – Till Kleinert) Continue reading
In his last film, legendary writer/artist/filmmaker Jean Cocteau portrays an 18th-century poet who travels through time on a quest for divine wisdom. In a mysterious wasteland, he meets several symbolic phantoms that bring about his death and resurrection. With an eclectic cast that includes Pablo Picasso, Jean-Pierre Leáud, Jean Marais and Yul Brynner, Testament of Orpheus (Le Testament de Orphée) brings full circle the journey Cocteau began in The Blood of a Poet, an exploration of the torturous relationship between the artist and his creations. Continue reading
It all began (as things Rivettian tend to do) auspiciously enough. There were to be four films in a series originally entitled Les Filles du Feu (after Gerard de Nerval) before the more expansive Scenes de la vie parallele replaced it. Each would center on a “non-existent myth” of a battle between goddesses of the sun and the moon for a mysterious blue diamond that has the power to make mortals immortal and vice versa. Each film was to be in a different genre: a film noir, a pirate adventure, a love story, and finally a musical – the last-mentioned of whose scenario particulars hadn’t been completely worked out when the four-film project went into production. Two films were ultimately completed – Duelle (the film noir) and Noroit (1976, the pirate adventure). But two days into the shooting of the third, Histoire de Marie et Julien the metteur en scène (as Rivette always chose to call himself, auteurism be damned) suffered a nervous breakdown, and the entire project fell apart – though traces of it linger in Merry-Go-Round (1981, a paranoid conspiracy jape that has everything but the goddesses) and the semi-demi-musical Haut/Bas/Fragile (1995). Continue reading
Scalera had obtained backing for a series of animal shorts and needed someone to make them. Roberto plunged in enthusiastically. He arrived at Ladispoli with animals of all sorts distributed among pockets and cages and started sixteen documentaries, no less, all at once. A slew of titles were annouced. La foresta silenziosa (“The quiet forest”), Primavera (“Spring”), Re Travicello, and La merca; and perhaps ll brutto idraulico (“The ugly plumber”). Fellini recalls finding Roberto at Scalera kneeling under small reflectors. “Inside a small enclosure made of nets and rope were a turtle, two mice, and three or four roaches. He was shooting a documentary about insects [La vispa Teresa?], doing one frame a day, very complex and laborious, with great patience.”
“He kept shooting for months,” Fellini adds, probably with his customary exaggeration. For in fact Roberto’s enthusiasm flagged quickly. Continue reading
This is an anti-Fascist short Rossellini made in 1940.
La vispa Teresa was rejected and, although Ferrara said that Il tacchino was distributed by Scalera under its working title, “La perfida Albione,” there were no press notices, and no one outside of Scalera is known to have seen it. According to Ferrara, Rossellini told him it was a satire in which “Perfidious Albion,” a big turkey representing England, goes around pecking at the hens representing the nations of Europe, until defied by a rooster representing Italy. “Rossellini detested it,” said Ferrara, “[though his] genius was such that he could achieve extraordinary effects out of nothing. He used to tell me, ‘It’s the only time that, through my weakness, I made a work of propaganda.’” Continue reading
Instant Cult Film from Austria.
Allegedly on a €5.000 budget!
Brilliant commentary on the Euro Crisis, international politics, internet and DIY culture … see farmers worshipping EU application forms as “holy scripture” and the NASDAQ crowd talking about dark energy! Continue reading
Louis Malle meets Lewis Carroll in this bizarre and bewitching trip down the rabbit hole. After skirting the horrors of a mysterious war being waged in the countryside, beautiful young Lily (Cathryn Harrison) takes refuge in a remote farmhouse, where she becomes embroiled in the surreal domestic life of an extremely unconventional family. Evocatively shot by cinematographer Sven Nykvist, Black Moon is a Freudian tale of adolescent sexuality set in a postapocalyptic world of shifting identities and talking animals. It is one of Malle’s most experimental films and a cinematic daydream like no other. (-Criterion) Continue reading