On her birthday, 11-year-old Angeliki jumps off the balcony to her death with a smile on her face. An investigation is started as to the reason for this apparent suicide, but the family keeps insisting that it was an accident.
One of the most famous rare TV films ever, the copy is very good.
I think Samyatin’s novel Wir on which this film is based is well known enough among sci-fi fans as the predecessor and inspiration for Brave New World and 1984. In 1981 ZDF adapted this film with Dieter Laser and Sabine von Maydell in the main roles and some clever effects despite obvious budget limitations. I’m as puzzled as all other fans why this film was apparently never shown again, maybe rights issues?
Anyway here it is back for the eyes of the public. Continue reading
Vintage porn from the silent era in which the initiation of a neophyte into a satanic cult turns into an orgy.
A more horrific and gloomy version of The Beauty and the Beast. Julie is a bankrupt merchant`s daughter who as the only one of the three daughters chooses to save her father`s life by going to the Haunted Wood`s Castle where she meets Netvor. He wants to kill her, but her beauty prevents him from that. Although she is forbidden to see him she starts to love him and the love rescues him from his curse… Continue reading
Another brilliant outing from Czech New Wave master Jan Nemec, director of Diamonds of the Night and The Party and the Guests.
Martyrs of Love is in 3 distinct sections, separated by title cards, connected thematically and formally rather than concretely. Music is probably the most important connection, as all three sections have prominent musical events. Continue reading
“The Grand Budapest Hotel” is the movie that Wes Anderson has been hinting at and promising for 15 years. It has wit and yet doesn’t short-circuit emotion, style that’s more than a gesture or attitude, and good scenes that don’t only stand alone but that build and become part of a substantial whole. It is every bit what people think of when they think of a Wes Anderson movie, only this time the gap between the talent and the achievement is gone.
It’s set primarily in the early 1930s, in a fictional central European city, with shades of Budapest, Prague and Vienna – but not the real Budapest, Prague and Vienna, but rather those cities as imagined and dreamed across a distance of time and space. The hotel of the title is like a hotel in a Greta Garbo movie, except rendered in candy colors, harking back to a time when people really believed that splendor and refinement were states of the soul, not mere acts of display. Continue reading
Pereda’s films pass through a transitional period; Los mejores temas was probably a conscious farewell to a filmic representation system while Matar extraños turned out to be an enigmatic first test; El palacio is a new attempt at renovation, an experiment. These last two films show a novel element —the shifting of the family and domestic spheres to a public and political space. Whereas Matar extraños used revolution as its focal concept, in this enigmatic film the microphysics of power is the permeating idea.
The opening wide shot is brilliant; the 17 women who appear in this film are washing their teeth at the same time. Among this group there are little girls, young and old women, and they are not at a bathroom but at a patio filled with large sinks. Their activity unites them, though their experiences and, eventually, their functions differ. Where are they? For several minutes the only thing we will see are the diverse cleaning-related actions performed by these women. Everything happens in an old house, without any indication of its location. Abstraction and routine. Pereda is capable of filming someone hanging clothes to dry or making a bed as if those were aesthetic events.
A donkey wonders around and imposes a comical tone for a moment; but a donkey is an animal used for servitude. And the title of the film mentions a palace.