The intercut story of two women: a nearly-mute beauty queen who descends into withdrawal and madness, and another who captains a ship laden with candy and sugar, luring men and boys aboard ... See full summary »
After many adventures, a young female switchboard operator starts a love relationship with a serious young man. But while he's away on business, she gets lonely and succumbs to her ... See full summary »
A love romance between older, respectable engineer that came in the industrial town to do some expert job and young hairdresser in whose house he stayed in and the consequences of that ... See full summary »
An eccentric marketing guru visits a Coca-Cola subsidiary in Australia to try and increase market penetration. He finds zero penetration in a valley owned by an old man who makes his own ... See full summary »
A major of Red Army is late for the train that takes Soviet's forces from Berlin. He telephones to Moscow and finds out that his wife has left him and that someone has moved in his ... See full summary »
In a small European country, the king is scheduled to visit a small, quiet and "safe" village. It turns out that while the village may indeed be small, it's neither as quiet nor as safe as it's expected to be.
Bora the Gypsy is married to an older woman, and he falls in love with the younger Tissa, who is being offered in marriage by her father, to a young gypsy man. This marriage arrangement is ... See full summary »
A dense film that cuts up footage of a primary plot of two young Yugoslavian girls, one a politico and the other a sexpot, and an affair with a visiting Russian skater. Mixing metaphors of Russia's relationship with Yugoslavia, intercut with footage and interviews with Wilhelm Reich and Al Goldstein of Screw magazine. The film applies Reich's theories of Orgone energy and analogies of Stalinism as a form of Freudian sexual repression. Also known as W.R. The Mysteries of the Organism in English subtitled version. Was banned in Yugoslavia shortly after it was made. Written by
Malcolm Humes <firstname.lastname@example.org>
WR is one of my two favorite films, and is widely considered by people knowledgable about the film and the era as "one of the most profound and humerous films of the decade". I call it the "Citizen Kane of the Sixties" because it did what the first "Citizen Kane" did earlier - it summarized the realities we all were living with in the Sixites in the Global Village - the reality of sexual repression in both the East and West, the horrors of the McCarthy Era in this country, the obsession with sports in Russia, etc., etc. It is no accident that a still from this film is on the cover of one of the greatest books on film, "Film As a Subversive Art" by film critic and founder of the NY Film Festival, Amos Vogel. I can understand why many Americans do NOT understand this film - the organization of the film, the two overlapping storylines, the music - all so different from the Hollywood material. However, it is considered by many including myself to be a masterpiece, as are all the films by its director, Dusan Makavejev. Together, he and Jean-Luc Godard are the two "Picassos" of film since WW II
and should both be held as two of the greatest filmmakers of all
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