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After escaping from an asylum the mad Dr. Niemann and his hunch back assistant revive Count Dracula, the Wolf Man and the Frankenstein monster in order to extract revenge upon their many enemies.
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Jesus Franco, also known as Jess Franco, was one of the biggest names in cinema “B” worldwide. With more than 200 works and a large and peculiar use of pseudonyms, his work remains difficult to categorize, which makes it more exciting if possible. Through a series of interviews with Franco, “Call him Jess Redux” about the viewer sadist, esoteric and erotic world of the director, as refined as rogue. This new version of “Call him Jesus” (2000), considered the documentary reference Franco and directed by Carles Prats and Manel Mayol, incorporates new unpublished statements irreducible Madrid filmmaker and pays homage to his muse and companion, Lina Romay incorporating their active presence the story.
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“Jigger’ Lane forms a band that includes singer Ginger ‘Character’ Powell, wife of the trumpeter Leo Powelll, and Nickie Haroyen and Peppi. All of them dedicate themselves to work as a unit and to play ‘blues’ music. The dedication isn’t paying off in money and, while riding the rails in a boxcar, they meet and befriend a gangster named Del Davis. He offers them a job at a New Jersey roadhouse, where Powell falls in love with Kay Grant, a former ‘real-good friend’ of Davis. But when Powell learns that ‘Character’ is about to have a baby, he returns to her. “Jigger” tries to make Kay the band’s singer and, when this fails, runs off with her. She leaves him with nothing to show for him except a nervous breakdown.Back at the roadhouse, after his recovery, Kay shows up, has a quarrel with Davis, shoots and kills him and plans to take back up with “Jigger”, who knows better but just can’t help himself. While she is waiting in a car for him, along comes cripple Brad Ames, who she put in …
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There is something vaguely mythical to the manner in which Konwicki introduces his characters, both to us and to each other, lapped as much by the ethereal eeriness of the score as by the seaside winds that send their hair aflutter. When they tend to speak to each other in whispers, it seems almost out of respect for the otherworldly aura of their locale, as though it is to their eyes as improbably beautiful as Konwicki’s camera renders it to us. They—referred to in the credits only as “He” and “She”, mysterious and mythical in themselves—do not whisper much; there’s a clear silent heritage at work here, conferring meaning to the motion of faces and the movement of the camera along this spectral shore.
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Follows the fluctuating fortunes of three friends in feudal Japan who are ronin: masterless warriors, who wander from castle to castle, selling their services to whichever lord will fill their rice bowls. These are not the YOJIMBO Super Samurai but rather the rank and file, the spear-carriers. The irony is that even though they use the servants’ entrance, they still feel themselves bound by the samurai code of Bushido; and this tension leads to tragedy.
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Two teachers, man-hungry Doris and restrained Marian, visit the Yorkshire moors a year after friend Evelyn disappeared there. On a stormy night, they take refuge in the isolated cottage of Stephen, one-time pianist shellshocked in the Spanish Civil War. Doris flees as soon as the flood subsides; but Marian’s suspicions about Evelyn’s fate, in conflict with her growing love for Stephen, prompt her to stay on among the misty bogs.
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A young doctor at a hospital, Susan Wheeler (played by Geneviève Bujold), starts noticing a pattern of strange occurrences with patients. Healthy patients are suddenly developing complications and ending up in comas. She starts investigating and what she reveals is astonishing.
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In 1960, a group of social outcasts who are bullied by a gang of greasers led by Henry Bowers are also tormented by an evil demon who can shape-shift into a clown and feed on children’s fears and kill them. After defeating the demonic clown as kids, it resurfaces 30 years later and they must finish it off as adults once again.
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A single mother struggles to pay the rent and put food on the table for her 10 year old son.
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Gabriel has been separated for four years now. Since then his 8 year old daughter is the center of his life. Completely avoiding getting involved in a new romantic relationship, Gabriel focus all his energy in his daughter and work. This plan gets spoiled when Vicky, a platonic love from his adolescence, now a beautiful and independent woman appears in his life. When romance is about to start, she puts one condition: She would never get involved with a man with children. She just does not want children in her life. When Gabriel is confronted with this, he says he has no children. From that moment on his life becomes a torment, playing every trick at hand in order to hide his child and belongings from Vicky in every date.
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