The inhabitants of an institution in a remote country rebel against their keepers. Their acts of rebellion are by turns humorous, boring and alarming. An allegory on the problematic nature ... See full summary »
One of Luis Bunuel's most free-form and purely Surrealist films, consisting of a series of only vaguely related episodes - most famously, the dinner party scene where people sit on ... See full summary »
London 1969 - two 'resting' (unemployed and unemployable) actors, Withnail and Marwood, fed up with damp, cold, piles of washing-up, mad drug dealers and psychotic Irishmen, decide to leave... See full summary »
Richard E. Grant,
Three teenagers are confined to an isolated country estate that could very well be on another planet. The trio spend their days listening to endless homemade tapes that teach them a whole ... See full summary »
The inhabitants of an institution in a remote country rebel against their keepers. Their acts of rebellion are by turns humorous, boring and alarming. An allegory on the problematic nature of fully liberating the human spirit, as both commendable and disturbing elements of our nature come forward. The film shows how justifiable revolt may be empowering, but may also turn to chaos and depravity. The allegory is developed in part by the fact that the film is cast entirely with dwarfs. Written by
Extracts of the screenplay that are featured on the German DVD say: "The title for the film is a pure 'working title'. It has nothing to do with the film. The word 'dwarfs' should not appear in there." See more »
When we behave nobody cares. But when we are bad nobody forgets.
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This film isn't just depraved and misanthropic, it's depraved and misanthropic with heart.
Despite it's grotesqueness, it depicts a fantasy of rebellion and transgression that I've loved for years. The urge to break free and destroy the confining objects and circumstances of our lives is within all of us. The potential joy of trashing and rendering inoperable our cars, the implements of our work, even our foodstuffs and houses lurks somewhere on a subconcious level, wether we are able to admit it to ourselves or not. Herzog has made an archetypal statement, very simply and unambiguously. The exhilaration of watching these laughing little people dismantle, bludgeon and set fire to their surroundings is immense
I find I have a weird empathy with the character Hombre, the small guy who happily follows the group and laughs while he watches all the destruction. He has a kind of humble nobility which is revealed at the beginning of the film when he refuses to talk to police.
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