Synopsis:
In Starting Place, Robert Kramer revisits Hanoi, two decades after the end of the war and his making of People’s war. He succeeds in creating an impressionistic portrait of a country dealing with its haunting past while struggling to build a competitive economy.Read More »
The eight-hour series of interviews between Gilles Deleuze and Claire Parnet, filmed by Pierre-André Boutang in 1988-1989. The individual episodes are “A comme Animal,” “B comme Boisson,” “C comme Culture,” “D comme Désir,” “E comme Enfance,” “F comme Fidélité,” “G comme Gauche,” “H comme Histoire de la philosophie”, “I comme Idée, “J comme Joie”, “K comme Kant”, “L comme Literature,”M comme Maladie,”N comme Neurologie”, “O comme Opéra”, “P comme Professeur”, “Q comme question,” “R comme Résistance”, “S comme Style”,”T comme Tennis”,”U comme Un”, “V comme Voyage”, “W comme Wittgenstein, “X & Y comme inconnues,” “Z comme Zigzag”Read More »
An exotic dancer is sent on an undercover mission to Thailand to investigate a secret biochemical factory.Read More »
Amazon.co.uk Review
Like the finest of film scores with its fluid beauty and succession of intensely romantic tunes, Puccini’s opera Madame Butterfly has a surprisingly cinematic feel. In 1995 director Frederic Mitterand exploited this quality of the story, exposing a young woman’s disillusionment against a backdrop of cultural chasms. Shot on location, with Tunisia doubling convincingly as a turn of the century Nagasaki, this Butterfly shines with fragile beauty. The house becomes a brilliantly used set; airy and full of the scent of flowers and at the same time a cage for the trapped woman. Archive footage of bygone Nagasaki is used skilfully to underline the distance between the 15-year-old bride and Pinkerton.Read More »
Quote:
A sensitivity to sounds coming from the activities of an unwelcome guest in the close quarters of an apartment is only one important component in this atmospheric, avant-garde drollery by Chantal Akerman. When the apartment owner comes home, her guest is settled in and at first, the slightly reclusive host decides simply to eat her breakfast in her room instead of having to face morning conversation with her guest. Sounds of the toilet flushing, the bath water running and splashing, footsteps pacing, and furniture moving invade the hostess’ refuge in her bedroom like the frontrunners of an all-out offensive. She locks herself up for 28 days, life’s detritus accumulating around her, just so she does not have to go out to face the nemesis that lurks beyond her door.Read More »
Quote:
The Eustachian intervention within his Rosières would perhaps not be strictly that of a filmmaker behind the camera, but that of a collagist-editor who plays with the film material and temporality to make a meaning spring forth from it. And if there is an erasure in the director, Eustache makes a conscious gesture of a programmer affirming, at the time of making the second Rosières, that he prefers that his two documentaries be viewed in reverse chronology: the first last, and the last first. Read More »
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René Clair, the most distinguished of the French motion-picture directors, is one of the great men of the cinema. His triumphant photoplays, Sous les toits de Paris, Le Million and, the finest of them all, A nous la liberté, stand among the genuine classics of the films. Now M. Clair, who has tried cheerful sentiment in Sous les toits, farce in Le Million, and brilliant social satire in A nous la liberté, gives up some of his adventurousness and returns to the quiet romantic mood of his earliest success in the new work called Quatorze juillet (“Fourteenth of July”). Read More »
A scientist finds the secret that predispose to the formation of the ideal couple. With this new alchemy, he achieves a pioneering experience: the creation of a perfect androgynous.Read More »
Quote:
A 23 year-old girl is contacted by an unknown life form claiming to be able to bring her older brother safely back to Earth, who disappeared during a space mission.Read More »