The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but bourgeois Clelia, and stung by the drowning of his mercurial friend Agostino, a possible suicide. Gina is herself a bundle of nervous energy, alternately sweet, seductive, poetic, distracted, and unhinged. They begin a love affair after Agostino’s funeral, then Gina confuses Fabrizio by sleeping with a stranger. Their visits to Cesare and then to Puck, one of Gina’s older friends, a landowner losing his land, dramatize contrasting images of Italy’s future. Their own futures are bleak. (IMDb) Read More »
Michele is a mathematics professor who just started a new job in a school with some peculiar teaching methods. After a woman in his neighborhood is murdered, Michele meets beautiful colleague Bianca, and a relationship begins between the two. Where is this relationship heading, and will Michele be able to help the police catch the murderer? Read More »
Based on the 1836 novel by Balzac (wiki)
Script-writers who adapt Balzac or Dostoievsky excuse the idiotic transformations they impose on the works from which they construct their scenarios by pleading that the cinema is incapable of rendering every psychological or metaphysical overtone. In their hands, Balzac becomes a collection of engravings in which fashion has the most important place, and Dostoievsky suddenly begins to resemble the novels of Joseph Kessel, with Russian-style drinking-bouts in night-clubs and troika races in the snow. Well, the only cause of these compressions is laziness and lack of imagination. The cinema of today is capable of expressing any kind of reality. What interests us is the creation of this new language. (…) The fundamental problem of the cinema is how to express thought.
Alexandre Astruc, The Birth of a New Avant-Barde: La Camera-Stylo (1948) Read More »
In 1943, Hitler orders the final destruction of the Yugoslav Partisans. The Partisans begin a trek northward to the relative safety of the Bosnian Mountains – their goal is to cross the treacherous Neretva gorge over one remaining bridge. Along the way, they battle German tanks, Italian infantry, Chetnik Cavalry, strafing airplanes, disease and natural elements.
Yugoslav director Bulajic is telling his story from all points of view, but his sympathies lie with the Partisans. The film has pro-Communist leanings, and tells several interwoven stories stressing the importance of comradeship in wartime. There are many important characters: Yul Brynner (“Morituri”) as crack demolition expert Vlado; Sergei Bondarchuk (director of “Waterloo”) as short-tempered artillery officer Martin; Franco Nero (“The Mercenary”) as an Italian Captain with no faith in Fascism; Hardy Kruger (“A Bridge too Far”) as Colonel Kranzer, who fights with dedication which begins to dwindle as he realizes the bitter reality that the partisans are a formidable enemy; Ljubisa Samardzic (“Battle of the Eagles”) and Sylva Koscina (“Hornets’ Nest”) are brother-and-sister, and Koscina is to marry Ivan (Lojze Rozman) after the war; the list goes on and on, and although every character is significant, it’s impossible to list them all. There’s an interesting twist, too: the legendary Orson Welles plays a Chetnik Senator who battles for concessions with General Lohring (the great Curd Jurgens), a commited Nazi officer who is determined the wipe out the Partisans once and for all. Read More »
IMDB Description follows:
Au Pair Girls’ is a cheesy “naughty” sexploitation comedy from the early 70s. During this period before hard core porn was readily available these kinds of movies were very popular in England. They mixed unsophisticated slapstick comedy, Benny Hill-like double entendres and lots of naked babes. Thirty years later they are enjoyable as kitsch but have little else going for them. ‘Au Pair Girls’ story concerns the misadventures of four beautiful girls sent to England to work as (yes, you guessed it!) Au Pair girls. They are Randi (Gabrielle Drake), Astrid (Anita Sector), Nan (Me Me Lay) and Christa (Nancie Wait). Randi ends up losing her clothes in a barn after the son of her employer (Richard O’ Sullivan from the popular 70s sit-com ‘Man About The House) gives her a lift and his car breaks down in the country. Astrid, a nutty Swedish girl obsessed with colour TV, gets picked up by a Sheik (Ferdy Mayne) while on a date at a casino. Nan is hired by Lady Tryke (Rosalie Crutchley) to be a companion for their socially inept but musically gifted son (Julian Barnes), who quickly falls in love with her. Christa is taken to a club by her employers liberated daughter Carole (Lyn Yeldham) and is seduced by a rock singer Ricky Strange (Steve Patterson). People raised on British sit-coms of the 60s and 70s will notice several familiar faces in the supporting cast, most notably John Le Mesurier (‘Dad’s Army’), who plays Richard O’Sullivan’s Dad, and Trevor Bannister (‘Are You Being Served?’), who plays his photographer pal. Read More »
Tara, the young beautiful widow, returns with her two little kids from country to her village. In her way home, she finds out that her grandfather has passed away. She distributes grandpa’s belongings among her neighbours. But there remains an old sword that no one accepts it. One day on the road, she meets an old-time warrior. He claims that his clan have sent him to present time to take the old sword back. Tara finally submits the sword to him, but he comes back saying that he has fallen in her love. Read More »
Two Egyptian soldiers, Haled and Gassan, are stranded in the Sinai desert at the end of the Six Day War in 1967. This compelling and comical saga follows these soldiers’ attempts to find safety and water. The pair encounter Israeli soldiers on patrol, and Haled, (an actor as a civilian) attempts a virtuoso performance of Shakespeare’s Shylock. Eventually, the “enemies” stride across the sand singing “Avanti Popolo,” an Italian revolutionary song whose words neither side understands. An intelligent and artistic satire on the absurdity of war, this Israeli classic is the first film from acclaimed director Rafai Bukai. Read More »