Tag Archives: english subtitles

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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The skipper goes to the sea with 14 other man to catch fish. However, all execept the skipper are drowned and the people blame the skipper for the death of their dear ones. Meanwhile, Haniyeh, the skipper’s little daughter is paralysed and the skipper and his family leave Tangak for Bushehr…
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Seemingly happy gun enthusiast Bobby Thompson (Tim O’Kelly) tells his wife Ilene (Tanya Morgan) that he’s feeling disturbed, but she hasn’t time to hear him out. Aging horror film star Byron Orlock (Boris Karloff) reluctantly agrees to a public appearance at a drive-in, even though he’s bitter and has announced his retirement. Their paths will eventually cross, as Tommy embarks on a wave of modern horror that outpaces anything in Orlock’s old movies.
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A man tries to get a smoking room approved at the company he works at. While there is initial support from other employees, many end up backing out and change their opinions towards how the company should be run.
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When a US intelligence agent is unable to bring a ruthless drug baron to justice, he resorts to hiring a contract killer. But the man he is put in contact with turns out to be an old friend.
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It’s a story about Raoul, a young man living at the beginning of the 21st century, who is part of the most fragile, unnecessary and appealing fragment of society. He goes from woman to woman, looking for love that seems unobtainable. But then he meets Jeanne, destined for freedom and tragedy…
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1975, Mozambique’s rebirth. The young revolution sweeps the streets of Maputo from prostitutes and bad habits. Read More »

A prison riot breaks out at the moment of a serial murderer’s execution by electrocution, and his fate becomes indeterminate when the prison is shut down. 18 months later, a team of filmmakers converge on the prison to film a women-in-prison exploitation flick, but find that a certain somebody is disrupting their shooting schedule…
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