Cult

Die Feuerzangenbowle (The Fire-Tongs Bowl or The Punch Bowl) is a 1944 movie, directed by Helmut Weiss and is based on the book of the same name. It follows the book closely as author Spoerl also wrote the script for the movie. Both tell the story of a famous writer going undercover as a pupil at a small town secondary school after his friends tell him that he missed out on the best part of growing up by being educated at home. The story in the book takes place during the Weimar Republic in Germany. The movie was produced and released in Germany during the last years of World War II and has been called a “masterpiece of timeless, cheerful escapism.”[1] The movie stars Heinz Rühmann in the role of the student Hans Pfeiffer, which is remarkable as Rühmann was already 42 years old at that time.

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The Little girl dreams of a dog. But dry prudish mum is categorically against animals. In the yard all children walk with dogs. And the girl walks her mitten on lead. Unexpectedly her mitten turns into a knitted puppy.
III VCF, Leningrad 1968, – the First premium in the section of cartoon films.
VII IF animation films, Annecy (France) 1967 – the First premium for the best children’s film.
V ICF, Moscow 1967, – the Silver medal in competition of children’s films.
X IF films for children and youth, Gijon (Spain) 1968 – Grand prix ” The Golden plate”; a prize of Gijon for high quality of animation.Read More »

THIS VERSION IS COMPLETE (3h 09′) AND INCLUDES EPISODE ‘JAR’.

The film consists of four stories plus epilogue, set in 19th-century Sicily. THE OTHER SON – A mother spends her life waiting for news from her two sons (emigrated to America) while ignoring her third, because he is the reincarnation of the bandit who raped her. MOON SICKNESS – a newly-wed peasant girl discovers that her husband goes mad every full moon. She arranges for a male friend to protect her, but they end up in bed together just as the moon emerges from behind a cloud. THE JAR – a rich landowner hires a master craftsman to repair a giant olive jar, but the craftsman gets trapped inside. REQUIEM – villagers band together in an attempt to force their landlord to let them bury their dead. CONVERSATIONS WITH MOTHER – the writer Luigi Pirandello talks with his aged mother about a story he always wanted to write, but which he never managed to capture in words.Read More »

Plot (From the DVD jacket):
In a small town close to the capital lives a family with three siblings: the serious and dominating Ignacia and her timid and withdrawn brother and sister, Paquita and Venancio. The monotonous life of the town is only shattered on Saturdays, when a band from Madrid comes to play their songs for the weekend dance. One stormy Saturday, Paquita and Venancio, frightened by noises, enter their sister’s room. There they think they see a mysterious fourth person. But their sister Ignacia denies it..
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A Canadian cult classic.

A seminal film in Winnipeg independent film-making in the 1980’s Crime Wave is a work of incredible imagination and inventive ideas. Upon its release in the mid 1980’s the film played to terrific acclaim at film festivals across North America. Crammed with B movie gags and pop cultural references the movie follows the story of Steven Penny, a crime writer who wants to create the perfect colour crime movie but he is only good at writing beginnings and endings (and not the stuff in the middle.)Read More »

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Based on the short story by Burroughs or the same name this is a short clay-mation released by Francis Ford Copolla.

Narrated by Burroughs, we follow Danny a junk sick and broke bum on his aimless wanderings to find that christmas fix, his eyes are sting and all he can feel is the raw ache in his bones, only the warming rush of Junk will make his at ease. Severed leg’s, drunk Doctors and and a 1/4 grain all go into making this a superb little tale that every family should gather round come christmas morning.

With a small scene during Thanksgiving at Burrough’s house tagged on the end (he slices the Turkey with a switchblade) it’s a worthy way of spending 22 mins over and over again.Read More »

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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 »