Thomas Jerome Newton is a humanoid alien who comes to Earth to get water for his dying planet. He starts a high technology company to get the billions of dollars he needs to build a return ... See full summary »
Chas, a violent and psychotic East London gangster needs a place to lie low after a hit that should never have been carried out. He finds the perfect cover in the form of guest house run by... See full summary »
A psychiatrist living in Vienna enters a torrid relationship with a married woman. When she ends up in the hospital from an overdose, an inspector becomes set on discovering the demise of their affair.
A privileged British family consisting of a mother, a geologist father and an adolescent daughter and son, live in Sydney, Australia. Out of circumstance, the siblings, not knowing exactly where they are, get stranded in the Outback by themselves while on a picnic. They only have with them the clothes on their backs - their school uniforms - some meagre rations of nonperishable food, a battery-powered transistor radio, the son's satchel primarily containing his toys, and a small piece of cloth they used as their picnic drop-cloth. While they walk through the Outback, sometimes looking as though near death, they come across an Australian boy who is on his walkabout, a rite of passage into manhood where he spends months on end on his own living off the land. Their largest problem is not being able to verbally communicate. The boy does help them to survive, but doesn't understand their need to return to civilization, which may or may not happen based on what the Australian boy ends up ... Written by
The poetry quoted by the narrator at the end of the film is Part 40 of A.E. Housman's "A Shropshire Lad": Into my heart an air that kills From yon far country blows: What are those blue remembered hills, What spires, what farms are those? That is the land of lost content, I see it shining plain, The happy highways where I went And cannot come again. See more »
Jenny's stockings variously disappear and reappear with no continuity. It seems earlier scenes with her wearing them are intermingled with later scenes where she doesn't wear them. See more »
Water. Drink. We want water to drink. You must understand! Anyone can understand that. We want to drink. I can't make it any simpler. Water. To drink. The water hole has dried up. Where do they keep the water?
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After the credits, there is a flash of white light on the screen and as it becomes a black screen, radio tuning is heard while the words "rien ne va plus" are shown. See more »
As far as comments about Roeg's going overboard with his message of "nature/aborigine good, industrialisation/white men bad," this is a simplistic way of reading it. First of all, every director has his or her own style, and Roeg started as a cinematographer--his movies tend to contain long, meditative (or, boring, depending on one's view) visual passages. Roeg floods the screen with cascades of images, by turns repetitive and contrasting, much as a poet uses the sounds and rhythms of words, as well as their semantic content, to create "meaning" in the context of the poem.
To expect Roeg not to dwell on images is to expect Tolstoy not to go off on 20-page rants about how the lack of Napoleon would necessitate another to fill his historical role. One overlooks idiosyncracies in one's friends.
I found the movie much more powerful than I expected. My only disappointment with the Criterion DVD release is with the commentaries. I would love to have heard more about the story, and it would have been nice to have heard from David Gulpilil, whose role as the aborigine was a watershed in Australian cinema, as noted in the IMDb article on his career.
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