Tag Archives: english subtitles

An analysis of the style and vision of Abbas Kiarostami, the world’s most iconic Iranian filmmaker, through the lens of his earliest work, including his first short film (Bread & Alley, 1970) and, particularly, his first feature, The Report. This early example of Kiarostami’s work gives insight into his poetic, humanistic tendencies, combining allegorical storytelling with a documentary, neo-realist sensibility, and often exploring the very nature of film as fiction, that have pervaded his work ever since, including such recent international sensations as A Taste of Cherry and Certified Copy. Exclusive interviews with film critics, historians and scholars (including the late great Andrew Sarris) and those directly involved in the making of The Report provide a look at how the career of this master independent auteur began and was shaped.
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In the early 1900’s, the legendary Joe Hill emigrates with his brother to the United States. But after a short time, he loses touch with his brother. Joe gets a few jobs but is struck by all the injustice and tragedy going on. He becomes active in the forbidden union IWW, a union for workers without trades. It is forbidden to demonstrate and to speak in public but Joe gets around that by singing his manifests with the Salvation Army. He manages to get more and more people to get on strike with him but he also makes powerful enemies doing that. Finally he gets connected with a murder and during the trial he fires his lawyer and takes upon himself to become his own defender.
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Sergio Corbucci crafted one of the most popular and widely imitated of the Italian “spaghetti westerns” of the 1960s with this violent but stylish action saga. A mysterious man named Django (Franco Nero) arrives in a Mexican border town dragging a small coffin behind him. When he attempts to save a woman who is being attacked by a group of bandits, he finds himself in the middle of a conflict between Mexican gangsters and racist Yankee thugs, with the innocent townspeople and a fortune in Mexican gold stuck somewhere in between. Django becomes a force to be reckoned with when it’s discovered his coffin actually contains a Gatling gun. Django proved so popular in Europe that over 30 sequels and follow-ups were produced, though Franco Nero would not return to the role until 1987’s Django 2: Il Grande Ritorno (the only sequel endorsed by Corbucci), which proved to be the last film in the series.
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Allen Bauer is rescued from drowning as a young boy off Cape Cod by a young mermaid. Years later, he returns to the same location, and once again manages to fall into the sea, and is rescued once more by the mermaid (Allen isn’t sure what he has seen and what he has imagined). Using maps from a sunken ship, the mermaid decides to search for Allen in New York City, sprouting legs when her tail dries. On finding Allen, they fall in love, but she has a secret, which will no longer be a secret if she gets her legs wet.
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Summer 1939 in the Provence, France: the 14 years old Julien has a crush on his cousin Julia, who lives together with his family in their small hotel. Unfortunately she ignores him, because she’s several years older. Then the hotel guest Charles enters the competition, a slimy twenty-something who lusts for the girl, despite the fact that he’s engaged.
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The intercut story of two women: a nearly-mute beauty queen who descends into withdrawal and madness, and another who captains a ship laden with candy and sugar, luring men and boys aboard for sex, death, and revolutionary talk. The beauty queen passes from a wealthy husband whose honeymoon delight is to urinate on her, to a muscular keeper who punches her, stows her in a suitcase, and ships her to Paris, to a lip-synching rock idol with whom she has a love spasm, to an Austrian commune complete with a banquet of vomit, urine, feces, chopped dildos, and wet nurses. By then she’s in a fetal position, until everyone’s rescued by reminders that “it’s just a movie.”
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Brandon and Philip are two young men who share a New York apartment. They consider themselves intellectually superior to their friend David Kentley and as a consequence decide to murder him. Together they strangle David with a rope and placing the body in an old chest, they proceed to hold a small party. The guests include David’s father, his fiancée Janet and their old schoolteacher Rupert from whom they mistakenly took their ideas. As Brandon becomes increasingly more daring, Rupert begins to suspect.
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A regular girl, Veronica, tries to survive the social jungle of high school by sticking with the three most popular girls at school who are all called Heather. As she meets a sociopath named JD, her life spirals into a continuous cycle of hate, unintentional murder and indifference, as she exacts revenge on her enemies, also known as her best friends.
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When lovable nerds Gilbert and Lewis embark on their freshman year at Adams College, little do they realize the perils that await them. They’re beset by taunting from the jocks of Alpha Beta fraternity, which only worsens when the jocks accidentally burn down their house and toss the freshmen out of the freshmen dorm. To make matters more problematic Lewis develops a crush on pretty Betty Childs, popular sorority sister and quarterback’s girlfriend. Joined by the aptly named Booger and the violin-playing Pointdexter, the nerds soon realize they must form their own fraternity in self-defence. Soon the tables are turned as the nerds employ high-tech warfare against the jocks…. but can they really win and make a difference?
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In order to help bring Nazis to justice, U.S. government agent T.R. Devlin (Cary Grant) recruits Alicia Huberman (Ingrid Bergman), the American daughter of a convicted German war criminal, as a spy. As they begin to fall for one another, Alicia is instructed to win the affections of Alexander Sebastian (Claude Rains), a Nazi hiding out in Brazil. When Sebastian becomes serious about his relationship with Alicia, the stakes get higher, and Devlin must watch her slip further undercover.
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Gracinda, a young laundry washer, lives with her godfather, “Uncle” Jacinto, and together they run a family business, doing the laundry for residents of Lisbon in their small village in the outskirts of that city (Canecas). Unfortunately, the business is not going very well, but that changes when Gracinda decides to go to the city to try to convince Chico, “Uncle” Jacinto’s son, with whom she is in love, to return to the village and give new life to the business. The village is preparing for the annual festivities and a dispute erupts between “Uncle” Jacinto and his business rival , the widow Quiteria, when each of them invites different bands to play at the same time during the party and dances.
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A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film tells the story of the Skladanowsky Brothers, the German-born duo responsible for inventing the “bioskop”, an early version of the film projector.
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Snobbish and wealthy Joanna Stayton (Goldie Hawn) is living a life of leisure with her husband, Grant (Edward Herrmann), when she falls off their yacht and suffers amnesia. Grant takes the opportunity to rid himself of the demanding Joanna – but Dean (Kurt Russell), a widowed carpenter with four kids who once worked for Joanna, arrives and claims she’s his wife. Joanna can’t remember her past identity, but has trouble believing that she was ever meant to be a working-class mother of four.
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In California, an old man (Bela Lugosi) grieves the loss of his wife (Vampira) and on the next day he also dies. However, the space soldier Eros and her mate Tanna use an electric device to resurrect them both and the strong Inspector Clay (Tor Johnson) that was murdered by the couple. Their intention is not to conquer Earth but to stop mankind from developing the powerful bomb “Solobonite” that would threaten the universe. When the population of Hollywood and Washington DC sees flying saucers on the sky, a colonel, a police lieutenant, a commercial pilot, his wife and a policeman try to stop the aliens.
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TOKYO-GA, Spanish poster art, 1985, ©Gray City

Taking a breather from the Paris, Texas shooting, Wim Wenders hopped a plane, camera in hand, to look for the Tokyo enshrined by the late Yasujiro Ozu (whose work Wenders dubs “the sacred treasure of the cinema”). What he found instead, documented in this filmic journal, was an urbanized dislocation not far from the forlorn emptiness he coached out of German and American vistas. Whether abstracting businessmen teeing off atop skyscrapers or the rigorous, artisanal craft of building a wax sandwich display, Wenders scrambles for humanity seeping through neon and steel – a humanity linked, inevitably, to the old Japan of Ozu’s films (rebellious tykes, cherry blossoms, tranquil countrysides). A far less queasy piece of hero-worship than Lightning Over Water, the picture meditates not so much on Ozu the filmmaker than on Ozu the vanishing feeling, motifs and images reconsidered in a modernized Japan circa 1983 (the trains that fill the Japanese master’s pictures with notions of inexorable movement have now become bullet expresses, gliding with smooth, ominous impersonality). Elsewhere, Wenders bumps into Werner Herzog (who bitches about having to space-travel to find pure images nowadays), Chris Marker (whose Sans Soleil would make a superb double-bill with Tokyo-Ga) and two aged Ozu stalwarts, gracious, dignified leading man Chishu Ryu and anecdotal camera operator Yuuharu Atsuta. Wenders’ eulogy for a culture alienating its own roots is built, characteristically, upon cinema’s capacity for regenerative beauty, though his links to Ozu are, if anything, more tenuous than his affinity with Nicholas Ray – Ozu’s images distill life, Wenders’ etherealize it. Cinematography by Edward Lachman.
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