Chantal Akerman – Cinéma, de notre temps: Chantal Akerman (1996)


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Quote:
Paris, 1995. On the cutting table in a modest office building in central Paris lie Juliette Binoche and William Hurt in Un Divan à New York. Chantal Akerman Par Chantal Akerman is also almost finished. It’s a self-portrait for the series Cinéma de Notre Temps by order of La sept Arte and producer Thierry Garrel. Because who can tell more about Chantal Akerman than Chantal Akerman herself. Through the open windows we can hear shreds of sounds from other cutting tables gathering in the inner courtyard. Fall is still warm. An interview on too much and not enough cinema. Read More »

Barbara Sass – Historia Niemoralna AKA Immoral Story (1990)


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IMDB wrote:
Told as a film within the film, the story concerns an aging actress. Ewa is a flamboyant, pushy actress whose career and love life have come to a dead end. She lives in a faceless housing development. She is totally engrossed in herself and dreams of making a comeback as a singer. But her overbearing personality time after time sets her into conflict with those she tries to work with in the theater and her bedroom Read More »

Alain Tanner – Le Journal de Lady M (1993)

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Quote:
She’s a beautiful gifted performer, but her work is not the sort that invites popular acclaim. Despite the fact that she is unlikely to become famous, she enjoys her life as a performer who lives just outside the mainstream. Awaiting her backstage one evening is a Spanish painter who has seen her show and wants to make her acquaintance. They walk around Paris getting to know one another, and then the painter returns to Spain. Something about the man has moved Lady M to passion: she flies to meet him in Barcelona and he shows her his beloved Catalonia. This time, however, their relationship is as much about passionate lovemaking as it is about compatibility. So smitten is Lady M with her new man that when she discovers that the painter has a black wife and child, she is only a little bit taken aback and she invites his whole family to join her in Paris. Surprisingly, they do, and the number of people sharing their love and sexual appetites changes from two to three. [imdb] Read More »

Agasi Babayan – Dersu Uzala (1961)

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This is little known the first version of “Dersu Uzala” from 1961.
The famous Kurosawa’s “Dersu Uzala” is a remake made 15 years later, in 1975.

SYNOPSIS:
Dersu Uzala is a 1961 Soviet film, adapted from the books of Vladimir Arsenyev, about his travels in Russian Far East with a native trapper, Dersu Uzala.

The film was produced by Mosnauchfilm, directed by Agasi Babayan with screenwriter Igor Bolgarin and featuring Adolf Shestakov and Kasym Zhakibayev.

The film won the Golden Wolf at the 1961 Bucharest Film Festival. Read More »

Robert Downey Sr. – Pound (1970)

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Quote:
There’s something liberating about director Robert Downey’s films, even when by rights they should be put on a leash by their small budgets and settings. Never was the case truer than in POUND, the kind of project that major studios would run a mile from. Long out of circulation, Downey’s film populates a dog pound with different human characters who pace about their cage, uncertain about their future. Some wait in hope for their owners to redeem them, others plot to escape, but most wait to see if they will make it to the end of the day without getting ‘The Needle’. It seems like a cute gimmick to have human characters playing dogs, but Downey has never been one to play by the rules, even if they would provide an interior logic to his story. The dog-human switcheroo isn’t as straightforward as it should be: the first camera angle inside the pound shows us the characters as dogs, the second shows them again as people. But are we still to treat them as ‘dogs’? They have a TV set in their cage; can understand human speech; and are revealed in flashbacks as having human lives outside of the pound. Read More »

Hélène Cattet & Bruno Forzani – Chambre jaune (2002)

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The Giallo film reinvented as an experimental S&M-tinged fever dream, told through a combination of color-gelled cinematography and jump-cut photographs, infused with dark sensuality and perverse cruelty. The short films of the directors of Amer are technically rawer than that film, but they show what was to come in terms of themes based on giallo films and an abstract style, from the use of still frames like in Chris Marker’s La Jetee to harsh coloured lighting. They are worth seeing by themselves as a refining of their ideas into a fantastic debut feature film. Read More »

Gino Mangini – La jena di Londra (1964)

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IMDB:
A serial killer called “The Hyena” is finally caught and eventually hanged. However, his body disappears before it can be buried, and soon thereafter dead bodies start turning up in a small village. Read More »