Motorbike, Tits, Miki Sugimoto… and cops & yakuza as well (scripted by Norifumi Suzuki)Read More »
In a Balinese village, families go to great trouble and expense for their extravagant cremation ceremony. They provide special foods to mourners and prepare a bounty of offerings for the deceased, from gifts of money to symbolic baskets. The atmosphere is almost festive as a shadow puppet show is performed for the entertainment of the deceased, inheritances are distributed, and musical processions of mourners walk the streets. Dead family members seem almost present as their bones are uncovered, washed, and arranged for cremation with accompanying prayer rites. During the cremation, the village is filled with smoke from enormous burning pyres shaped like bulls, as the souls of the dead are cleansed of impurity and then sent out to sea so that they may continue their journey to heaven. Shot in 16mm, the film documents and explains the intricacies of these funeral rites and Balinese-Hindu beliefs about death.Read More »
Nocturnes pour le roi de Rome is a French film directed in 2005 by Jean-Charles Fitoussi in Rome during the Pocket Film Festival and released on January 6, 2010. This film is the first feature film to have been shot with a cell phone equipped with a camera.
An old German composer is invited in Roma by the King to compose for him eight Notturni. But the memories of tragic events he used to live there, in the very place he is now coming back, make him unable to write anything.Read More »
Nick (JOHN SPENCE) is a suave denim-wearing young pimp who worries a lot about his hair. Louie (STEFAN PETERS) is a monosyllabic knife-wielding goof of undetermined sexuality (with his most noticeable physical feature being red, greasy, slug-like lips). Together they are The Girl Grabbers.
As the opening titles roll, these two smirking hellions are wandering the streets of 1960’s Greenwich Village, knocking groceries out of the arms of women with big hairdos, and molesting butts — as Girl Grabbers everywhere are wont to do. Unsatisfied with such simple pranks, they hold the brazen midday robbery of Tania (LUDMILLA TCHOR), a very average-looking redhead with an awkward Euro-accent. Nick stuffing her panties in her mouth, then rolling around on top of her fully clothed while giggling like a retarded infant.Read More »
THE BLACK POWER MIXTAPE 1967-1975 mobilizes a treasure trove of 16mm material shot by Swedish filmmakers, after languishing in a basement of a TV station for 30 years, into an irresistible mosaic of images, music, and narration chronicling the evolution one of our nation’s most indelible turning points, the Black Power movement. Featuring candid interviews with the movement’s most explosive revolutionary minds, including Angela Davis, Bobby Seale, Stokely Carmichael, and Kathleen Cleaver, the film explores the community, people and radical ideas of the movement. Music by Questlove and Om’Mas Keith, and commentary from and modern voices including Erykah Badu, Harry Belafonte, Talib Kweli, and Melvin Van Peebles give the historical footage a fresh sound and make THE BLACK POWER MIXTAPE 1967-75 an exhilarating, unprecedented account of an American revolution.Read More »
Cy Endfield1941-1950250 Quintessential Film NoirsCrimeFilm NoirUSA
Todd Wiener writes:
In 1947, novelist and B-movie screenwriter Jo Pagano published his third novel titled The Condemned. The novel was based upon the 1933 kidnapping and murder of Brooke Hart in San Jose, California, and the subsequent lynching of two suspects by a hysterical mob fueled by a frenzied media. Considered the only public lynching covered with such media scrutiny, The New York Times stated the event “was an outburst characterized by hysteria and ribaldry.” Pagano would adapt his novel into the screenplay The Sound of Fury (Fritz Lang’s film Fury (1936) is based on the same shocking event).Read More »
Robert Siodmak1941-1950250 Quintessential Film NoirsDramaFilm NoirUSA
Phantom Lady (1944) is one of the high points of ’40s film noir, the title alone evoking a potent mythology of this era. At the center of its narrative is the seemingly hopeless search for the title character who potentially serves as the only reliable witness in the murder trial for Scott Henderson (Alan Curtis), falsely accused of killing his wife. But the search is frustrated by Henderson’s inability to remember any details about the woman outside of a flamboyant hat she wore during the night they spent together, an unlikely memory lapse that only intensifies his apparent guilt. Furthermore, no one else who saw Henderson and the woman together will admit to the police that they had seen her.Read More »
„By the middle of the 70s, partly due to television, Hungarian films had lost much of their audience. The allure of disguised social criticism – one of the secret reasons why Hungarian films were so successful at foreign festivals – started to wear off. After 1968 social criticism became pointless. The first director to open up towards the audience (along with Zoltán Fábri) was Pál Sándor. Mourning the loss of left-wing ideals of freedom he recreated the illusion of a past community. The audience responded to his grotesque, nostalgic tone and the stories where the emphasis was always placed on the microclimate of human relationships. His “retro-films” were rich in self-irony. He never analysed and never criticised, he just told a story, created a poignant atmosphere and passionate characters. (Szeressétek Odor Emíliát – Love Emilia! 1968, Régi idők focija – Football of The Good Old Days 1973, Herkulesfürdői emlék – A Strange Role 1976, Szabadíts meg a gonosztól – Deliver Us from Evil 1978).Read More »
1961-1970CrimeDramaLindsay AndersonQueer Cinema(s)United Kingdom
In this allegorical story, a revolution led by pupil Mick Travis takes place at an old established private school in England.Read More »