Synopsis wrote: The Other Side of Sunday, also known in Norwegian as “Søndagsengler”, is a movie that criticizes the small, and often tight, church community. We follow the Preacher’s Daughter, Maria, on her journey to liberate herself from the stiff church community and her father.
A short documentary about the life and craft of a French cooper. The main focus is on the two-day process of creating a wine barrel, from nada to completion. Interspersed throughout are little snippets concerning the life of the cooper whose work we follow, like mentioning his daughter’s marriage and his being involved in WWI.
Harada is a successful scenario writer, and his best buddy has just announced an intention to propose to Harada’s ex-wife. Recovering from the shock, Harada indulges in melancholy, mainly on his failure as a husband and father, and goes to a ‘Rakugo’ (sit-down comedy) show, where a friendly man in the audience invites him home. Harada is puzzled at the strong resemblance of this man and his wife to his own parents, who were killed nearly 30 years ago when he was twelve. He visits the couple repeatedly, and greatly enjoys the happy atmosphere there, which was much like his childhood, and such a contrast to his current existence, which is lonely and tortured. But he is no longer alone.
Quote: Kyoko met Tetsu during her trip to San Francisco. Soon they fell in love but getting married was not in his mind. They were to meet again back in Tokyo but Tetsu didn’t turn up.
Synopsis: This is the final movie from Okamoto Kihachi, the filmmaker who directed such great movies as “Sword Of Doom”, “Kill”, and “Red Lion”. With an equal mix of violence and humor he has forged a career that spanned over 4 decades and created some of the most memorable films to ever come out of Japan. This is no exception, and the hand of a master is evident in his treatment of this highly entertaining story. In a world where vendettas are officially sanctioned, the people sometimes needed help in carrying out their vengeance. Sanada Hiroyuki stars as Sukeroku the Helper, a ‘cool and rambling yakuza’ that has made a business out of helping victims carry out their revenge. When he returns to his hometown to pay a visit to his mother’s grave he meets a deadly ronin who carries a secret which eventually leads him into a vendetta of his own. With terrific performances by Sanada and Nakadai Tatsuya as the mysterious old ronin, this film brings back the golden era of Japanese cinema!
Quote: A corrupt cop with access to all the money and drugs he needs suddenly finds his comfortable way of life turned upside down by the arrival of ruthless Albanian gangsters in his patch of London. Crime thriller, starring Peter Ferdinando, Stephen Graham and Neil Maskell.
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Quote: Aleksei German’s singular, multithreaded drama My Friend Ivan Lapshin offers a uniquely stylized look at life in Russia as the flaws of Communism were just beginning to show. Set in a provincial Russian village during the 1930s, the film at times recalls the autobiographical work of Terence Davies or Woody Allen’s Radio Days. Like the work of those directors, German’s film filters most experiences through the eyes of a child, although the child/narrator in this particular movie is not present in the majority of the scenes. Instead, German turns his roving camera into a surrogate for the child, usually having it track behind characters or wander curiously throughout the scenes. This gives the film a unique feel, as narrative incident is scarcely privileged over background detail. As with many of our memories, most things here only begin make sense in retrospect, as they are mulled over in the mind. So, while Ivan Lapshin offers a story about a small town police officer who seems precariously perched on the abuse of his power, an investigation of memory itself begins to feel like the film’s prime attraction.
In the opening scene of Ivan Lapshin, a narrator explains that his story is a “declaration of love for the people I lived with as a child, just five minutes’ walk from here and a half a century ago.” As fifty years and five blocks would imply, memory is viewed here as something slippery; almost tangible yet just out of reach. Outright realism often gives way to clearly staged pictorial beauty, reminding us that we are viewing a subjective memory. German switches, almost at random, between scenes shot in color and black and white. A voiceover occasionally intrudes upon the action, to further emphasize the constructedness of all memory. The resulting film, which revels in the past even as it seems soberly aware of the disappointment to come, would likely be probably intensely nostalgic for anyone who lived under Communism.
For the rest of us, My Friend Ivan Lapshin offers a distinctive, yet mildly uninvolving mélange. The indirectness of the film’s point of view makes it somewhat difficult to interpret precisely what it is trying to communicate about Communist Russia. Throughout the movie we are shown the optimism of the people, yet at the same time, whether through the agony caused by a spilt canister of petrol or the way that the characters’ cramped living spaces squelch privacy, we are made aware of the costs of collectivism. Characters talk hopefully about the future but we, like the narrator, know of the disappointment to come. Perhaps the most potent message, though, is found in the brief sequences that return us to the 1980s, from which the story is being told. Little in the physical environment in the fictional town in which the film takes place seems to have been changed in the fifty years since Ivan’s story unfolded, but it’s made quite clear that a way of life has died.
After saving a Black Panther from some racist cops, a black prostitute goes on the run from “the man” with the help of the ghetto community and some disillusioned Hells Angels.
“Run, motherfucker.”
Quote: “Sweetback was politically unacceptable on the one hand, but it made a lot of money on the other. And I thought it was a stroke of genius to suppress the political aspects and highlight the cartoonish aspects, and there you’ve got your blaxploitation. In essence, blaxploitation ushered in a bunch of counterrevolutionary films….The upside was that because the films were so markedly “urban”–and I’m using the code word–they had to use minorities in central roles. So a lot of people got to learn a craft that had always been denied them.”
Michael Brooke, imdb wrote: A communist soldier is sent to a remote region of China in order to collect folk songs. Staying with a peasant family (a widower with two small children), he discovers a community whose way of life is completely alien to him, but he gradually wins their trust…
As some of you are aware, Stanley Kubrick personally re-edited The Shining after the initial US release, shortening it some 20 minutes. The original version, clocked at 144 min is only available in the US (and is available here on worldscinema) but everywhere else, there is this 119 min version, which according to some sources, was Kubrick’s preferred version.
Personally I prefer the longer version, but it’s uncanny how organic this cut is, since you don’t feel like you’re watching a shortened version at all.
This rip is made from the Special Edition 16:9 DVD, with the commentary track on second track – the commentary is shortened too!
Synopsis: ‘Three years after its incendiary run on the London stage, director Tony Richardson’s film version of John Osborne’s play Look Back in Anger (1959) became one of the precursors to the British “kitchen sink” dramas of the 1960s. Enhancing the aim to show British life as it really was through the hopeless existence of enraged working class stiff Jimmy Porter and his put-upon, better-born wife Allison, Richardson unstintingly reveals the grunginess of their industrial city residential milieu with its drab row houses and unkempt children. Shot in stark black and white to match the dreariness of their lives, Richardson’s close-ups intensify the already fraught emotions of Richard Burton’s quintessential “angry young man” as he vents Porter’s frustrations in Osborne’s sharp, incisive dialogue. Mary Ure’s Allison and Claire Bloom’s neighbor-turned-mistress Helena are as emotionally caught as Jimmy, despite their different attempts at resistance.’ – Lucia Bozzola
Documentary about Brazilian pop diva Maria Bethânia, in one of her first shows in Rio de Janeiro. The film also show scenes of her daily life and meetings with other musicians.
Quote: Alejandro, a resourceful street orphan on the verge of adolescence, lives and works in an auto-body repair shop in a sprawling junkyard on the outskirts of Queens, New York. In this chaotic world of adults, Alejandro struggles to make a better life for himself and his sixteen-year-old sister.
Quote: A story of 6 days with 5 people gathered around a small sparkling pool at Chiang Mai in Thailand. 4 years ago, Kyoko started to live in Thailand and has been working in a Guest house outside in Chiang Mai, leaving her mother and her daughter Sayo, in Japan. Just before the graduation of University, Sayo sets foot on Thailand to visit her mother with mixed feelings. However, emotional experiences with the people living there changes such feelings toward her mother.
Quote: In Rita Azevedo Gomes’ A PORTUGUESA, war and love are the absolute values that define the conflict between man and woman. The film is an adaptation of a short story by Robert Musil, as filtered through the spirit of Agustina Bessa-Luis, frequent collaborator of Manoel de Oliveira. Clara Riedenstein plays the enigmatic, unnamed, obstinate, and intelligent protagonist – a woman who, after marrying von Ketten, travels to his country and spends eleven years waiting for his return from war. A PORTUGUESA is a film about patience, stoicism, and strategy that puts in crisis the very notion of action. With magnificent sound design, and shot in long takes that favour depth of field and the careful organisation of props and figures, the film pays great attention to colour, texture, and light. Azevedo Gomes avoids many clichés of the costume drama: instead of palace intrigues, the film tackles mystery at its fullest; animals are everywhere, triggering the most extreme emotions; there’s a sharp critique of power and religion, while the film relishes in its rituals and ceremonies; and there are many turbulent, subterranean currents, from carnal love to the devil’s hand. – Cristina Álvarez López
Edmond Dantes is falsely accused by those jealous of his good fortune, and is sentenced to spend the rest of his life in the notorious island prison, Chateau d’If. While imprisoned, he meets the Abbe Faria, a fellow prisoner whom everyone believes to be mad. The Abbe tells Edmond of a fantastic treasure hidden away on a tiny island, that only he knows the location of. After many years in prison, the old Abbe dies, and Edmond escapes disguised as the dead body. Now free, Edmond must find the treasure the Abbe told him of, so he can use the new-found wealth to exact revenge on those who have wronged him.
A young man leaves his village to go into the city to audition to enter a dance company. He then is involved in illegal activities such as boxing and sleeping with men for money. Unwillingly, he falls in love with a man and suddenly is accepted in and starts dancing in the company. But his life will turn upside down when his lover goes to war and he returns to his village.
Mija lives with her middle-schooler grandson in a small suburban city located along the Han River. She is a dandy old lady who likes to dress up in flower-decorated hats and fashionable outfits, but she is also an unpredictable character with an inquisitive mind. By chance she takes a poetry class at a neighborhood cultural center and is challenged to write a poem for the first time in her life. Her quest for poetic inspiration begins with observing the everyday life she never intentional took notice of before to find beauty within it. And with this, Mija is delightfully surprised with newfound trepidation as if she were a little girl discovering things for the first time in her life. But when she is suddenly faced with a reality harsh beyond her imagination, she realises perhaps life is not as beautiful as she had thought it is…
Woman Basketball Player No. 5 not only explores the problems that a young female athlete faces in coming to grips with her ambitions in the field of sports, it portrays the fate of two different generations of Chinese athletes, one pre- and the other post-Liberation.