Candide, lovelorn youth and eternal seeker from the pages of Voltaire's immortal classic novel, finds himself thrown out of an entirely comfortable castle after his affection for the ... See full summary »
"The camera strips woman right down to her skin," proclaimed the ads,"...lays bare the secrets of her mind and body!" Using outtakes from MONDO CANE as their foundation, Directors Gualtiero... See full summary »
A look at the careers of Gualtiero Jacopetti and Franco Prosperi who invented the mondo genre with MONDO CANE in 1962. It follows their career until their split in following the making of GOODBYE UNCLE TOM in 1971.
A young woman teams up with an adventurer to find her missing sister in the jungles of New Guinea and they stumble upon a religious cult led by a deranged preacher whom has located his commune in an area inhabited by cannibals.
Low-budget film about a young man given a mystical medallion by an Aztec shaman, in order to become a puma-empowered champion like his father before him. In trying to initially locate the ... See full summary »
Alberto De Martino
Walter George Alton,
Miguel Ángel Fuentes
From the producers of 'Mondo Cane' comes this violent document of a continent in transition; the change from white colonialism to independent black statehood. Often times, this resulted in the wholesale massacre of thousands of people and the indiscriminate extermination of wild life. Captured on film are mercenary killer squads wiping out entire villages, executions, Mau-Mau massacres and more! Written by
Sujit R. Varma
In one scene where director Gualteiro Jacopetti and his crew encounter a soldier at Dar es Salaam, Jacopetti (in the dark blue shirt) is seen for a few seconds after he and his crew were dragged out of the car. Notice that Jacopetti suffered a cut after the soldier smashes the car window. See more »
Words cannot explain the dilemma I have with this film
Truly presents the world as a dark place without a happy ending, or an ending at all, a world full of intolerance part of the human condition. Even worse, there is great indifference towards this intolerance, even displayed by the filmmakers themselves as they arguably exploit the rape of Africa, equally marvelled by the human tragedy and the cinematic scope of Africa in crisis. Yet, the images are genuine, if not presented in a genuine way, and the use of editing, music, and all the techniques of cinema masterfully create a tour de force that commands debate, thought, and maybe - someday- action.
Is this perhaps an example of what "art" really is, for better and for worse?
The fact that it took me over a year to really put into words why this film affected me so much, and yet was still villainous in many ways (a paradox to be sure), makes me think that it is.
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