Tag Archives: english subtitles

Duke and Boots, two young thugs, hold up a California gas-station owner. Duke, viral and savage, taunts the slower and psychologically-confused Boots because he has never made a sexual conquest. Duke offers to seduce a woman for Boots and the pair force a passing motorist to pursue a sports car driven by Ann Carlyle, the lustful wife of a insurance-company executive who has some desires of her own not being met by her husband.
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Filmed entirely in a desolate field, Violent Virgin opens with two cars travelling along a dusty road. Three men and three women, apparently members of a gang, have a couple bound and blindfolded. After they reach their demonstration, they drag the man and woman, whose names we soon learn are Hoshi and Hanako, out of the cars and dump them on the ground. It seems that Hanako was the boss’s girl, but she eloped with Hoshi. Captured, it seems that they are going to be murdered, but not before they are humiliated by the other gang members.
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Three vibrantly retro space girls from the planet Vanisia must try to fit in as normal Beverly Hills women when they suddenly make a crash landing in the backyard of wealthy infamous playboy Baron Von Benson. Baron and his women chasing buddy Steve, soon realize that it takes something out of this galaxy to tame their cheap bad boy ways.
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After a giant dinosaur skull is stolen, the head of the Chinese secret police decides to assign the case to the force’s most incompetent reject: a rural butcher who stands around all day drinking martinis (shaken, not stirred). With a trunkload of insanely useless gadgets and a contact who constantly tries to kill him, the young agent must locate the skull and find out just what is going on here.
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A documentary concerning the violent Italian ‘poliziotteschi’ cinematic movement of the 1970s which, at first glance, seem to be rip-offs of American crime films like DIRTY HARRY or THE GODFATHER, but which really address Italian issues like the Sicilian Mafia and red terrorism. Perhaps even more interesting than the films themselves were the rushed methods of production (stars performing their own stunts, stealing shots, no live sound) and the bleed-over between real-life crime and movie crime.
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Shiftless Jeeter Lester and his family of hillbilly stereotypes live in a rural backwater where their ancestors were once wealthy planters. Their slapstick existence is threatened by a bank’s plans to take over the land for more profitable farming; subplots involve the affairs and marriages of son Dude and daughter Ellie May.
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After the death of his mother, middle-aged insurance employee inherits her small cottage surrounded by a garden. Selling the cottage which is situated on unexploited ground near the center of a big city makes him a rich man and he buys a big house in the countryside. He takes some time off and decides to throw a big garden party at the house and invite all his colleagues from the office. Aided by alcohol, the guests gradually lose all their inhibitions and reveal personality traits and frustrations that they normally keep hidden.
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This is not a joke. Karlheinz Stockhausen dreamt of it and he did it. He wrote a score for a string quartet whose musicians (in this instance the Arditti Quartet) would each play in a helicopter, while their music would be mixed on the ground by Stockhausen and broadcasted in the concert hall. The helicopter rotors are naturally present.
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This sentimental comedy, in turn delightfully amusing and tragicomical, tells a tale of a working-class neighborhood in Zagreb during a ten-year period after the end of the Second World War. It is a story of people who rely on humor and song to survive their anxious times, preserving their traditions and their way of life despite the tumultuous upheavals that surround them. A range of colorful characters create a unique microcosm of an old-fashioned way of life, in which it is as natural to burst into song as it is to talk, creating a film which at times resembles a musical.
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Documenting the work of one of the most groundbreaking and seductive composers of the Twentieth Century, this film also shows Luc Ferrari’s “extremely libertarian personality: his spontaneity, his inclination towards hedonism and sensuality, his curious and open character, his rejection of all kind of power and of all stable position within institutions, his pronounced taste for jeux, his sense of self-derision and his ferocious refusal of all dogmatism”.
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