Started by wilder, November 01, 2011, 01:54:56 AM
0 Members and 2 Guests are viewing this topic.
Quote from: wilder on July 30, 2021, 07:47:54 PMOctober 11, 2021Rainer Werner Fassbinder Collection Vol. 1 on blu-ray from Arrow (UK). His debut feature Love is Colder Than Death (1969) is a playful but cynical crime picture, inspired by the nouvelle vague. Katzelmacher (1969) depicts the dynamics of a group of young layabout friends, which are radically altered by the arrival of an immigrant worker in their community. Beware of a Holy Whore (1971) pulls the curtain on the backstage dramas of the cast and crew of a film shoot as they wait in a Spanish seaside hotel for the arrival of funds to continue their production. The Merchant of Four Seasons (1971) portrays the downfall of a beleaguered fruit seller in 1950s Munich as he struggles to keep his family, body and soul together.Originally written and produced as a stage play, The Bitter Tears of Petra von Kant (1972) focuses on the loves, losses and lamentations of the titular Petra, a successful fashion designer with two marriages behind her and an estranged daughter. The Ulli Lommel-directed Tenderness of the Wolves (1973) sees Fassbinder adopting the role of producer in a bleak tale based on the German serial killer Fritz Haarmann, memorably played by Fassbinder regular Kurt Raab, who also wrote the screenplay.
QuoteThis Ain't No Video Game Featurette'Making Of' FeaturetteOriginal electronic press kit with cast interviews and behind the scenes footageGalleries: Stills, storyboards and conceptsExtended workprint with deleted scenesUS Theatrical Trailer
View this post on Instagram
Quote from: wilder on July 27, 2017, 12:58:03 AMJust learned about this German DVD & Blu-ray label Bildstörung. The owners, Alexander Beneke and Carsten Baiersdörfer, have really interesting taste. The label specializes in foreign arthouse and exploitation films, and what could generally be described as 'wide angle oddities'. To give you an idea, some of the titles in their catalog already available in the US from other labels include:-Aleksei German's Hard to Be A God (2013)-Lodge Kerrigan's Clean, Shaven (1993)-Andrzej Zulawski's Possession (1981)-Stuart Cooper's Overlord (1975)-Walerian Borowczyk's La Bete (1975)-Jaromil Jireš' Valerie and Her Week of Wonders (1970)-František Vláčil's Marketa Lazarová (1967)Below are some of their titles that are unreleased or OOP in the US.Iván Zulueta's Arrebato aka Rapture (1979) - DVDA low budget horror filmmaker gets in touch with an eccentric who is trying to film his consciousness during drug abuse.
QuoteDead Reckoning (1947)War heroes Rip Murdock (Humphrey Bogart) and Johnny Drake (William Prince) are sent to Washington, D.C., by train, but are not told why. During the trip, they learn they're about to receive top honors for their service. Johnny, seemingly terrified by the publicity that awaits him, jumps off the train and later turns up dead. Suspecting foul play, Rip begins digging into his pal's past. He encounters cover-ups, threats to his own life and deadly femme fatale Coral Chandler (Lizabeth Scott). Directed by John Cromwell.Knock On Any Door (1949)Having pulled himself out of the poverty and squalor of a big city slum, idealist lawyer Andrew Morton (Humphrey Bogart) agrees to defend a young juvenile delinquent from his old neighborhood. Nick Romano (John Derek), the son of an innocent man Morton had unsuccessfully defended as a young lawyer years earlier, stands accused of murdering a policeman. In opposition to a law-and-order prosecutor (George Macready), Morton argues that Nick's deprived upbringing led to his life of crime. Directed by Nicholas Ray.Tokyo Joe (1949)In the wake of Japan's surrender, American expatriate Joseph Barrett (Humphrey Bogart) hopes to revive the Tokyo club he ran before he left to fight in World War II. Soon Barrett discovers that Trina (Florence Marly) -- the wife he assumed was dead -- has married another man and has a young daughter. As an overwhelmed Barrett struggles to obtain approval for residency in Japan, he becomes the blackmail target of Baron Kimura (Sessue Hayakawa), a crime boss with a dirty job for him to do. Directed by Stuart Heisler.Sirocco (1951)American Harry Smith (Humphrey Bogart) is selling guns to Emir Hassan (Onslow Stevens), whose Syrian rebels are battling occupying French troops. Hoping to stem the fighting, French Col. Feroud (Lee J. Cobb) asks Harry to introduce him to Hassan. Meanwhile, Feroud's girlfriend, Violette (Märta Torén), is increasingly drawn to Harry. While she wants Harry to ferry her out of the dangerous country, he boldly tries to make a profit from his dealings with both Hassan and Feroud. Directed by Curtis Bernhardt.The Family Secret (1951)After David Clark (John Derek) kills his drunk, violent friend Art, he explains to his lawyer father, Howard (Lee J. Cobb), that he acted in self-defense. Howard lets David decide whether or not to confess. Disappointed when David refuses to admit to his crime, Howard is further disturbed when district attorney George Redman (Santos Ortega) prepares to prosecute Joe Elsner (Whit Bissell), a bookie Art was in debt to. When his son still refuses to turn himself in, Howard agrees to defend Joe.The Harder They Fall (1956) (new 4K restoration)Broke and without work, newspaper reporter Eddie Willis (Humphrey Bogart) agrees to work for the corrupt boxing promoter Nick Benko (Rod Steiger) to help hype his new boxer, Toro Moreno (Mike Lane). While Toro is beastly in appearance, he has no actual boxing talent, and all his fights are fixed. When Toro gets a shot at the title against the brutal Buddy Brannen (Max Baer), Willis is faced with the tough decision of whether or not to tell Toro that his entire career is a sham. Directed by Mark Robson.
QuoteThe Round-Up (1966)Miklós Jancsó's most renowned work depicts a prison camp in the aftermath of the 1848 Hungarian Revolution. After the Hapsburg monarchy succeeds in suppressing Lajos Kossuth's nationalist uprising, the army sets about arresting suspected guerillas, who are subject to torture and other mental trickery in an effort to extract information about highwayman Sándor Rózsa's band of outlaws, still waging armed struggle against the Hapsburgs on the outside. Jancsó's camera stays in constant, hypnotic motion, taking in the developing dynamics and antagonisms between the prisoners and their captors, meditating upon and exalting its characters' resistance and perseverance in the face of brutal, authoritarian repression. A true classic of world cinema.The Red and the White (1967)A haunting, powerful film about the absurdity and evil of war. Set in Central Russia during the Civil War of 1918, The Red and The White details the murderous entanglements between Russia's Red soldiers and the counter-revolutionary Whites in the hills along the Volga. The epic conflict moves with skillful speed from a deserted monastery to a riverbank hospital to a final, unforgettable hillside massacre.The Red and The White is a moving visual feast where every inch of the Cinemascope frame is used to magnificent effect. With his brilliant use of exceptionally long takes, vast and unchanging landscapes and Tamas Somlo's hypnotic black and white photography, Jancso gives the film the quality of a surreal nightmare. In the director's uncompromising world, people lose all sense of identity and become hopeless pawns in the ultimate game of chance.The Confrontation (1968)Paralleling the dramatic student protests and riots that were exploding across the world in the 1960s at the time the film was made, The Confrontation is a story of protest and rebellion.Set in 1947 Hungary when the Communist Party have just taken power, dancing, singing Communist students debate Catholic seminary students at a People's college, all the while worrying their words will escalate into a fight.Jancsó's first color film is a virtuoso display by a director at the peak of his powers. The film eloquently explores the complex issues and inherent problems of revolutionary democracy, and was set to compete in the famously cancelled Cannes 1968.Winter Wind (1969)In the mid-1930s a group of Croatian anarchists led by the grim revolutionary ascetic Marko Lazar (played by the film's French producer Jacques Charrier) escape a bungled ambush in Yugoslavia crossing the dense forests at that country's Northern border in an effort to seek refuge in Hungary.Winter Wind consists largely of twelve fluid long takes, some as long as ten minutes, and each a completely mapped-out sequence. Jancsó's interest is more geometric than geopolitical, eschewing the big picture historic story for micro-social behavior. In a series of sweeping motions, effectively communicating the abstract conflict between the idealist anarchists and reality.Red Psalm (1971)Set on the Hungarian plains of the 1890s. When a group of farm workers go on a strike, demanding basic rights from a landowner, they are met with soldiers on horseback, facing harsh reprisals and the reality of revolt, oppression, morality and violence.Structured as a passion play. An awesome fusion of form with content, and politics with poetry. Stylized dance with collective choreography depicts the fight of those answering terror with violence. The film honors the agrarian Socialist movements of the end of the nineteenth century, while. conveying a historical philosophical critique of the Socialist ideas.Winner of the best director prize at Cannes in 1972, and widely considered to be the greatest Hungarian film of the 60s and 70s.Electra, My Love (1974)It has been fifteen years since the death of her father, Agamemnon, and Elektra, still burning with hatred towards his murderer, the tyrant Aegisztosz, attempts to rouse an apathetic population against the rule of this usurper.A richly inventive adaptation of the two-thousand-year-old Greek myth. This searing exposé of oppression and the abuse of power resonates inescapably in twentieth century Hungary, reflecting attitudes towards tyranny and dictatorship from the modern man's perspective. Jancsó makes use of the play's framework to make charges against the then Russian rulership that continues to resonate today.A thoroughly enjoyable cinematic tour de force, the 71 minute film consists of 12 single take, intricately choreographed set pieces.
Quote from: wilder on April 19, 2020, 06:16:07 PMThe Scapular aka El Escapulario (1968)A woman who is about to die calls the town's priest and hands him a scapulary, saying that she knows of its great powers. Anybody who does not believe in them will end up dead.Quote from: Letterboxd user Carlos ValladaresIf Val Lewton produced and Orson Welles directed the story of a quiet Mexican Revolution-era pueblo where the lines between the supernatural and the miraculous, the holy and the satanic, blur.MVP: Gabriel Figueroa's constantly astonishing photography, with loads and loads of beautiful, well-staged compositions. Montage is internalized; the cut disappears, and the statuesque Mexican actors are the glue that keep the off-kilter imagery together. The daring opening: we become one with the camera, as we stalk a priest who's delivering the last rites of a doña on her death-bed. There's no specific source to the ghoulishness: it's palpable, we can sense it in the air and in the murky-muddy photography, but we can't grasp it. The elusiveness of Figueroa's phantom images (fog curls around the actors, zooms serve to make the actor bigger-than-life and ant-sized) is breathtaking. The film becomes a powerful metaphor for the dangers that come to non-believers...but also, how concrete facts seem to vanish when we come face-to-face with the Utterly Irrational (a Jacques Tourneur-like swinging of hanged bodies, Figueroa's camera panning across them one-by-one, like a fascinated morgue inspector). André Bazin would have killed to have seen this. RKO "God is absent" horror, disguised as a Catholic parable.
Quote from: Letterboxd user Carlos ValladaresIf Val Lewton produced and Orson Welles directed the story of a quiet Mexican Revolution-era pueblo where the lines between the supernatural and the miraculous, the holy and the satanic, blur.MVP: Gabriel Figueroa's constantly astonishing photography, with loads and loads of beautiful, well-staged compositions. Montage is internalized; the cut disappears, and the statuesque Mexican actors are the glue that keep the off-kilter imagery together. The daring opening: we become one with the camera, as we stalk a priest who's delivering the last rites of a doña on her death-bed. There's no specific source to the ghoulishness: it's palpable, we can sense it in the air and in the murky-muddy photography, but we can't grasp it. The elusiveness of Figueroa's phantom images (fog curls around the actors, zooms serve to make the actor bigger-than-life and ant-sized) is breathtaking. The film becomes a powerful metaphor for the dangers that come to non-believers...but also, how concrete facts seem to vanish when we come face-to-face with the Utterly Irrational (a Jacques Tourneur-like swinging of hanged bodies, Figueroa's camera panning across them one-by-one, like a fascinated morgue inspector). André Bazin would have killed to have seen this. RKO "God is absent" horror, disguised as a Catholic parable.
Quote from: Letterboxd user Nitrate_DietImpressionistic WWII tale and a worthy addition to the Lewis Milestone war movie canon. Less pacifist than All Quiet on the Western Front, but still willing to consider soldiers' fears and insecurities. More than other genres in classical Hollywood, war movies get away with an unusual amount of narrative freedom. The story here is about a trek to a farmhouse six miles away, a scenario so simple it's forced to revolve around the characters and their existential reflections on what they're doing. A lot of the cast were becoming familiar faces in noir pictures, so in a roundabout way that also contributes to the film's sense of absurdism and dread. Screenplay is by Robert Rossen, who would become a director himself the following year.
QuotePAUL GAUGUIN(1949, 13 minutes) PAUL GAUGUIN uses the artist's own writings and artwork to trace his creative journey. The flm begins with Gauguin losing his job in fnance―the catalyst for his commitment to paint every day―and continues through to his fnal days in Tahiti.VAN GOGH (1948, 18 minutes) Winner of the 1950 Academy Awards Best Short Film, this boundary-pushing short brilliantly evokes the life of Vincent Van Gogh, using only his paintings as visuals.GUERNICA (1949, 14 minutes) GUERNICA, about the city's horrifying bombing during the Spanish Civil War, features Picasso's paintings, drawings and sculptures. Co-directed with Robert Hessens.ALL THE WORLD'S MEMORY: TOUTE LA MÉMOIRE DU MONDE (1956, 21 minutes) ALL THE WORLD'S MEMORY pays homage to the National Library of France and takes us on an impressive and impressionistic tour. It received the Best Picture Award at the 1957 Cannes Film Festival.THE SONG OF STYRENE: LE CHANT DU STYRÈNE (1957, 14 minutes) Alain Resnais carries out a poetic investigation into the origins of plastic. It is the perfect example of how to turn a commissioned industrial film into a lyrical, satirical film masterpiece.
QuoteSIGNS OF LIFETHE GREAT ECSTASY OF WOODCARVER STEINERHOW MUCH WOOD WOULD A WOODCHUCK CHUCKLA SOUFRIÈREGOD'S ANGRY MANHUIE'S SERMON THE DARK GLOW OF THE MOUNTAINSHERDSMEN OF THE SUNECHOES FROM A SOMBER EMPIREWHEEL OF TIMETHE WILD BLUE YONDER
QuoteThe Bride Wore Black (1968)After newly widowed Julie Kohler's (Jeanne Moreau) mother stops her from committing suicide, she hatches a different plan to deal with her grief. In a small black book, she lists five men. One by one she visits the men with murderous intentions, assuming different identities to get close to them. Only one man remains elusive, having been captured by the cops before Julie could reach him -- but despite the obstacles, Julie intends to see her task through to the end.Mississippi Mermaid (1969)Lonely on the island of Réunion, tobacco planter Louis Mahe (Jean-Paul Belmondo) decides to wed a mail-order bride. Although the woman who arrives off the ship, Julie Roussel (Catherine Deneuve), looks nothing like her picture, she's still gorgeous. Their marriage seems to be going fine until Julie empties his bank accounts and disappears. This should be the end of Louis' obsession -- but then he spots Julie in the south of France and falls under her spell once more.The Wild Child (1970)A young boy (Jean-Pierre Cargol) is discovered in a forest, living a feral existence among a pack of wolves. Captured by hunters, he is sent to Paris and placed in a school for deaf-mute children. There he is observed by Dr. Itard (François Truffaut) who concludes that the boy is neither deaf nor intellectually stunted, but has simply been deprived of normal, humanizing influences. With no shortage of tenderness, patience and ambition, Itard devotes himself to educating and civilizing the boy.The Story of Adele H (1975)Adèle Hugo (Isabelle Adjani), daughter of renowned French writer Victor Hugo, falls in love with British soldier Albert Pinson (Bruce Robinson) while living in exile off the coast of England. Though he spurns her affections, she follows him to Nova Scotia and takes on the alias of Adèle Lewly. Albert continues to reject her, but she remains obsessive in her quest to win him over. When Albert is stationed in the West Indies, Adèle once again trails him, furthering her downward spiral.Small Change (1976)Filmed in the small French city of Thiers, François Truffaut's episodic comedy-drama concerns one of the director's favorite subjects: childhood. A class clown stalls the teacher long enough to avoid answering a question, a toddler ends up on a high window ledge, a little girl announces to the neighborhood that her parents are punishing her, and the new boy in school hides his poor, abusive home life in these intertwining stories illustrating the joys and sorrows of growing up.The Man Who Loved Women (1977)Middle-aged Frenchman Bertrand Morane (Charles Denner) is relentless in his pursuit of women, constantly moving from conquest to conquest without any qualms about his promiscuity. He attempts to woo Helene (Geneviève Fontanel), a lovely lingerie store owner, but she prefers younger men, so he moves on to a married woman, Delphine Grezel (Nelly Borgeaud). Bertrand eventually begins his sex-filled memoirs, and his editor, Genevieve Bigey (Brigitte Fossey), becomes his next amorous relationship.The Green Room (1978)Julien Davenne (François Truffaut) is a French writer who becomes consumed with the concept of death. After losing many friends during the fighting in World War I, Julien constructs a shrine to those close to him who died in battle. At the heart of Julien's obsession is his late wife, whom he honors throughout his home, which is essentially one large memorial dedicated to her memory. Though Julien makes fleeting attempts to connect with the living, he seems more comfortable with the dead.
QuoteThe Guilty (1947)Released by Monogram Pictures, is a triumph of resourcefulness for its nomadic Viennese director, John Reinhardt. Based on a short story by legendary suspense writer Cornell Woolrich, this little-seen B movie centers on war veterans Mike Carr (Don Castle) and Johnny Dixon (Wally Cassell), roommates in a low-rent tenement. They are romantically entangled with twin sisters Estelle and Linda Mitchell (Bonita Granville, in a dual role). When one sister turns up dead, the boys are hounded by a suspicious police inspector (Regis Toomey)—although there's no shortage of suspects. Working on only three sets, with a shoestring budget, Reinhardt and director of photography Henry Sharp evoke the dreadful, dead-of-night ambiance that was the domain of the era's most prolific noir scribe, Cornell Woolrich.Thanks to the dedication of the Film Noir Foundation, The Guilty has been restored from a 35mm nitrate composite fine-grain master by UCLA Film & Television Archive.High Tide (1947)Forgotten noir, set in a spectacularly corrupt Los Angeles, is a crackling crime thriller rescued thanks to the combined efforts of the Film Noir Foundation, UCLA Film & Television Archive, and the British Film Institute.In flashback, we learn that Slade was brought in by muckraking editor Fresney as protection against a mobster (Anthony Warde) his paper is investigating. Things quickly get complicated as Fresney's boss has a wife (Julia Bishop) eager to resume a smoldering romance with Slade. When a main character gets iced early, everybody becomes a suspect, and the double-crosses start multiplying at a breakneck pace.High Tide was the second of two crime thrillers independently produced in 1947 by Texas oil tycoon Jack Wrather. It carries over from The Guilty the same screenwriter and cameraman, the same protagonist in actor Don Castle, and the same director, John Reinhardt, whose playful inventiveness enlivened several post-WW II films noir.Restoration funding was provided by the Film Noir Foundation in conjunction with the Packard Humanities Institute. The action gets rolling with one of the greatest framing gimmicks in noir: a speeding car crashes onto a rocky shoreline and its occupants, newspaper editor Hugh Fresney (Lee Tracy) and private eye Tim Slade (Don Castle) recount the plot as the rising tide threatens to drown them.
Quote-The American Soldier-The Niklashausen Journey-Gods of the Plague-Rio Das Mortes-Mother Kusters Goes to Heaven-Fear of Fear-Satan's Brew
Quote from: Mondo DigitalHunted (1972) Features Edward Woodward (just before shooting The Wicker Man) as a Scottish man named John who sets up a late morning appointment to check out an office space with real estate agent Margaret. Inside the space (which is adorned with amazing half-sheets for plays like Oh, Calcutta!), she comes to realize that he has something a lot more sinister in mind when he keeps hanging out by the window and soon whips out a hunting shotgun in what appears to be a plan to fire at passersby during the lunch hour. John promises not to hurt her if she doesn't try to escape, and as the time approaches and she gradually gleans more information out of him, it becomes apparent that his plan could be far different than it appears.Assassin (1973)Ian Hendry stars as a nameless MI5 agent who's flown in for on an elaborate mission to research and carry out a hit for the government on someone who's been leaking state secrets within the Ministry of Defense. His client doesn't care if the killing looks like an accident (saying blame will go to "the other side"), but Hendry has his own personal code about killing within the machinery of government that could throw a major wrench into the works. Along the way we meet other government officials who decide to send in a pair of backups in case things go wrong. There's very little dialogue here, with the use of sound effects and stylized photography carrying across what feels like a mixture of gritty '70s U.K. crime thriller with an austere art film. Moments (1974)Traumatized by the deaths of his wife and daughter, businessman Peter Samuelson takes a train to a seaside hotel where he had some happy memories from childhood. Finding the place largely empty off season, he reunites with the porter who's aged considerably in the ensuing decades. That first night he pulls out a gun with clear intentions of committing suicide, but he's interrupted by another guest, Chrissy, an energetic spirit who's having trouble with the gas line.
Quote"In 1964, Eduardo Coutinho was at work on a film about João Pedro Teixeira, who was murdered by the police as a result of his efforts to organize farm workers in northeast Brazil. The director cast non-actors in the production, including Teixeira's widow, who plays herself, but shooting was cut short in the wake of the military coup that same year; footage was seized, a number of participants imprisoned. The project was resumed 20 years later, as the country was transitioning to a democracy, but had begun to take a rather different shape: Coutinho incorporated the earlier material as well new interviews with those originally involved and reflections on the injustices of the interval, yielding a prismatically reflexive, genre-defying essay on political commitment and life under dictatorship." —Film at Lincoln Center