Stanislas Hassler blazes the development of modern art in his gallery, packed with works of surprising shapes, colours and textures, and where exhibitions turn into media events. Gilbert ... See full summary »
Episodic portrait of a criminal, from 1934 until after the war. Roberto Borgo is tough, cool, sardonic, loyal, and deadly. He comes to Marseilles to help his friend Xavier Saratov get out ... See full summary »
Based on the story of Franca Viola and Filippo Melodia. In Sicily, as a Mafia boss leaves for prison, he advises Vito, a young man who's his potential successor, to marry a virtuous and ... See full summary »
This adult comedy looks at the complex, intermingled sexual relationships between a bunch of diverse characters - a barmaid, a part-time prostitute, a hippy, a rocker, a medical student and a confused virgin!
Berenice (Navarro) is a woman with a mysterious past. A scar crosses her face and nightmares of fire and horses fill her lonely nights. She maybe killed her husband but nobody can be sure. ... See full summary »
Jaime Humberto Hermosillo
Pedro Armendáriz Jr.,
Rodolfo and Petrita each live in separate quarters in dilapidated Madrid, while looking to have a little apartment (or "pisito", in Spanish dialect). Unfortunately their low salaries ... See full summary »
Isidoro M. Ferry
José Luis López Vázquez,
Concha López Silva
Police detective Joe Warner investigates the shooting of womanizing composer Keith Vincent. Evidence points to suicide and that is the official verdict, but Joe doesn't buy it and ... See full summary »
A quite serious and enigmatic Ferreri film, before his post-Grande Bouffe period.
This film somehow mixes the red tape nightmares depicted by Kafka with the Catholic church's man made organization and hierarchy in today's corporate world, making vis a vis contact with authorities impossible. Apart from the intrigue, this film has Ferreri directing his most dramatic film since "El Cochecito" (Spain, 1960), where his ability to create emotional conflict intermingles with his more satiric and absurdity touch, A facet that's is very interesting to explore, given that his output post-Grade Bouffe is his body of work that most Ferrei enthusiasts are familiar with. I would argue that this film, along with "Chiedo Asilo" (Italy, 1979) are films that explore Utopian gestures borne of the everyday Utopian man, as it faces the brick wall of bureaucracy and normality and convention. Walking the fine line cinema as "theater of the absurd" of the path explored by Buñuel, Raul Ruiz, Arrabal, Jodorowsky and many others, Ferreri champions (the dadaist-inspired) path less traveled in cinema.
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