Botanist Frank Parrish leads an expedition to the Himalayas to seek out new flora, accompanied by hardboiled news photographer Peter Wells. When their lead guide, Subra, learns his wife has been kidnapped by a Yeti, Parrish disbelieves him, so the sherpas commandeer the expedition at gunpoint and turn it into a search-and-rescue party. To Parrish’s surprise, they discover a whole family of Yetis in a cave, and are able to subdue the male and carry it back to civilization, to ship to the USA for study. Subra is forgiven his acts because he was right after all. Wells, meanwhile, phones in the story and Parrish finds his discovery – shipped upright in a meat cooler to maintain its natural environment – detained in the US because Wells’ story refers to it as a snowMAN, and a decision must be made whether this is a customs or immigration matter. During this bureaucratic snafu, the creature escapes its containers and disappears into Los Angeles, mysteriously appearing in different parts of …
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The french choreographer Mathilde Monnier and her preparation for her next performance is the main focus of this documentary. The choreography’s practices and the bodies, everything is registered in some sort of anthropological way by the filmmaker’s camera.
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Before the advent of modern-day pornography, a vast and rapidly-paced world of smut peddling was the norm, complete with its own secret history. This documentary reveals the untold story of American cinema’s gloriously sordid cinematic past. Starting in the 1920s, expert exploiteer David F. Friedman and Henenlotter navigate us through more than five salacious decades of skin flicks. It’s the true story of dirty movies, traced in elegant detail from the bizarre locations where these nudie shorts were screened to the ongoing legal battles fought by their promoters. And of course there are the stories of the innovators themselves, people who often risked their own security and livelihood to make these films, believing in some way that what they were doing wasn’t a ‘bad’ thing – and that it could rake in some dough.
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A tragicomic film about people from the social periphery. Director Dušan Hanák portrayed his characters with a sensitive understanding, without romanticizing. That was also why the f ilm, similarly to Hanák’s previous works 322 and Pictures of the Old World, ended up on a shelf until 1988. Impressive performances are given by Czech actress Iva Janžurová, Polish actor Roman Klosowski and Serbian actor Milan Jeli?. In 1989, the film won a Silver Bear for Best Directing from the IFF Berlin.
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The Mad Morgans are more than an increasingly popular variety act; they are a family team. But one of them aspires to greater things, and is in a dilemmaas to whether he should go it alone or stick with the group. Despite setbacks and obstacles, Davy finally gets his offer from the top. The entertainment world is his oyster but can the ties of flesh and blood stop him from achieveing his dreams?
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In a seedy section of Rome, Vittorio Cataldi – “Accattone” (“beggar” in Italian) to those that know him – lives off the avails of prostitution, Maddalena being his one and only girl. He is married to Ascenza with who he has one young son named Iaio, but he does not live with them – they who live with her father and brother – provide for them, or play any important part of their lives. He generally hangs out with his similarly slack life friends playing cards and drinking. His source of income is threatened when Maddalena is injured being hit by a motorcyclist, then beaten by rivals of his, which leads to her being arrested and jailed for a year. Largely because of Iaio, Accattone contemplates going straight and getting a real job. Then he meets Stella, a young innocent woman who has had a hard life, but who is not as naive to the ways of the world as she first appears. Accattone falls in love with her, but as the thought of working a steady job now becomes abhorrent, contemplates …
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Alice is brought back to her family after she is rescued from the men that kidnap her, but her nightmare is far from over since she continues to have constant flashbacks of her ordeal. She resents her parents because she believes they wouldn’t pay for her ransom, since that is what she heard her captors say through a wall when she was kidnapped. Coming back to normal life is not easy for her because she has to deal with her parents, her boyfriend, and mix feelings she had for one of the captors that she had sex with in order to survive.
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Marie wants to escape from her job and also from her lover, Paul, an unemployed drunk. She dreams of going off with Jean, a dockworker. The two men quarrel and fight over Marie on two occasions, but Paul retains a hold over her. Marie has a baby who falls ill and as time goes on Jean and a crippled neighbor try to help the child. Paul nearly causes the death of the child whilst in a drunken stupor and in a final struggle that occurs, the crippled woman seizes Paul’s gun and shoots him dead.
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The rise of John Dillinger from petty criminal (including, unforgivably, holding up a cinema) via prison and bank robbery with his new convict associates to the accolade of Public Enemy Number One.
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Mario is in Hannover to work as a miner but after loosing his job he decides to go back to Italy. When Totonno steals his passport to avoid the police and later on he offers him a new job as “magliaro” (cloth seller), Mario changes his mind and decides to follow Totonno to Hamburg. In Hamburg, Totonno and his friends have to sell Mayer’s cloth but they meet with the hostility of a Polish gang and Mario falls in love with Paula Mayer.
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