Started by wilder, March 27, 2017, 06:00:36 PM
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QuoteIn the pioneering classic of German queer cinema, Taxi zum Klo, Frank Ripploh writes, directs and stars in a semi-autobiographical snapshot of pre-AIDS West Berlin. An elementary school teacher by day, Ripploh cruises for sex at night, grading papers in the john while awaiting his next anonymous hook-up. But his compartmentalized routine gets shaken up when he meets a commitment-minded new beau. Frank, fierce, explicit and funny, Taxi zum Klo was notorious at the time of its release. Don't miss this rare chance to see it back on the big screen in 35mm!
QuoteDuring the 1920s and 1930s, Japan was one of the world's two largest producers of motion pictures, along with the United States. Though the country's film industry was among the first to produce both sound and talking features, the full changeover to sound proceeded much more slowly than in the West. It appears that the first Japanese sound film, Reimai (Dawn), was made in 1926 with the De Forest Phonofilm system. Using the sound-on-disc Minatoki system, the leading Nikkatsu studio produced a pair of talkies in 1929: Taii no musume (The Captain's Daughter) and Furusato (Hometown), the latter directed by Kenji Mizoguchi. The rival Shochiku studio began the successful production of sound-on-film talkies in 1931 using a variable-density process called Tsuchibashi. Two years later, however, more than 80 percent of movies made in the country were still silents. Two of the country's leading directors, Mikio Naruse and Yasujirō Ozu, did not make their first sound films until 1935 and 1936, respectively. As late as 1938, over a third of all movies produced in Japan were shot without dialogue.The enduring popularity of the silent medium in Japanese cinema owed in great part to the tradition of the benshi, a live narrator who performed as accompaniment to a film screening. As director Akira Kurosawa later described, the benshi "not only recounted the plot of the films, they enhanced the emotional content by performing the voices and sound effects and providing evocative descriptions of events and images on the screen.... The most popular narrators were stars in their own right, solely responsible for the patronage of a particular theatre." Film historian Mariann Lewinsky argues,The end of silent film in the West and in Japan was imposed by the industry and the market, not by any inner need or natural evolution.... Silent cinema was a highly pleasurable and fully mature form. It didn't lack anything, least in Japan, where there was always the human voice doing the dialogues and the commentary. Sound films were not better, just more economical. As a cinema owner you didn't have to pay the wages of musicians and benshi any more. And a good benshi was a star demanding star payment.
QuoteReady for something new? We'll have 4 new title announcements (!) to make next week, but in the meantime here's something brand new you can pre-order now from our friends at DiabolikDVD.com!
QuoteThe Austrian cult film THE INHERITORS! Coming to blu October 9th! A CHILLING AND TIMELY LOOK INTO THE TWISTED WORLD OF THE EXTREME RIGHTOn his way home from school, 16 year old Thomas helps Charly, an unemployed teenager, escape from the police. Despite their differing backgrounds the boys become good friends and Charly persuades Thomas to join a neo-Nazi youth group. Intrigued and confused by his new friends Thomas, who is experiencing trouble at home and school, is drawn deeper into a web of sex and violence that leads to a tragic end. In 1979, Austrian film director Walter Bannert was among a group of Vienna cafe patrons beaten up by a gang of young neo-Nazis who wrecked the place. Researching the burgeoning movement in West Germany and Austria for 3 years, Bannert infiltrated their private meetings by convincing party leaders that he wanted to make an objective documentary. His film The Inheritors is the result, a disturbing and timely fictional drama based entirely on real characters, events and conversations that Bannert came across in the neo-Nazi camps. The film was highly controversial on its original release and theatres screening it were threatened with violent action by neo-Nazi sympathizers. Although it is now over thirty years old, the film remains incredibly relevant as we witness, across the world, the rebirth of right wing extremism using exactly the same lies and tactics exposed so powerfully in this film. The Inheritors was not screened in its native country for many years until it was rediscovered at the 2015 Viennale Exhibition where it was praised as a rare and powerful example of Austrian genre cinema with a strong political message.The film was selected at the 1984 Cannes Film Festival for the prestigious Directors Fortnight section, in the same year it won a jury prize at the Montreal World Film Festival.SPECIAL FEATURES Brand new 2k scan from film negative World Blu-ray premiere Region freeExclusive 12 page booklet with essays by Michael Gingold and film maker Paul Poet Original theatrical trailer English/German audio choice Newly created subtitles
Quote from: jenkins on August 16, 2018, 06:31:52 PMBannert infiltrated their private meetings by convincing party leaders that he wanted to make an objective documentary. His film The Inheritors is the result, a disturbing and timely fictional drama based entirely on real characters, events and conversations that Bannert came across in the neo-Nazi camps.
Quote from: Jared AQuote from: MortimerBrewstrKnowing that there's 5 titles coming that haven't had any sort of US release... I'm going to ask a question that has always sort of interested me.How does Mondo Macabro discover all of these super obscure titles? Especially movies that have never had a US release. Does Pete just sit through stacks of foreign films all owned by one foreign body or individual? Or are referrals made from owners that Mondo has previously dealt with?I'm fascinated by how these titles must find their way into the Mondo Macabro consciousness...It's mostly pretty simple. We are just huge movie fans and are personally drawn the more obscure end of the spectrum, and to movies from around the world. Pete's been into this stuff forever, having literally written the book about it (twice!) back in the 90s. He has long, long lists of films he would like to release. My knowledge is not nearly so encyclopedic, but my interests still lie very much in the weird, the obscure and the foreign. I ran the Worldweird Cinema blog back in the 2000s, which was dedicated to that sort of thing. I too have a list of movies I'd love to do. Basically we just know what we want and then look for the rights and materials. Sometimes it works out, sometimes it doesn't. But some films also just land in laps, seemingly out of nowhere. LOVERS BEYOND TIME was one. The director liked what we were doing and got in contact. INHERITORS is another. That came as part of the deal for BLOOD LUST. Neither Pete nor myself were familliar with it. But Pete thinks it's pretty good. I still have yet to see it myself. That's it. No big mystery!
Quote from: MortimerBrewstrKnowing that there's 5 titles coming that haven't had any sort of US release... I'm going to ask a question that has always sort of interested me.How does Mondo Macabro discover all of these super obscure titles? Especially movies that have never had a US release. Does Pete just sit through stacks of foreign films all owned by one foreign body or individual? Or are referrals made from owners that Mondo has previously dealt with?I'm fascinated by how these titles must find their way into the Mondo Macabro consciousness...