Laschen, a German journalist, travels to the city of Beirut during the fights between Christians and Palestinians to produce an essay about the situation. Together with his photographer, he... See full summary »
The second film in Terence Davies's autobiographical series ('Trilogy', 'The Long Day Closes') is an impressionistic view of a working-class family in 1940s and 1950s Liverpool, based on ... See full summary »
Olga and Ruth become friends. Olga is independent, separated from her husband, living with an immigrant pianist, and teaching feminist literature. Ruth is withdrawn, a painter, possibly ... See full summary »
Margarethe von Trotta
After separation from his wife Robert moves to Vichy where he observes beautiful Juliette. Her fiance Patrick becomes jealous and attacks Robert. When Patrick disappears Robert is suspected to have killed him.
This film is about the relationship of a mother and her daughter, the split-up of their family, the blessing and curse of belonging together and about coming of age - all this from the ... See full summary »
Poetical tale of Anne-Marie Stretter, the wife of a French diplomat in India in the 1930s. At 18 she had married a French colonial administrator and went with him on posting to Savannakhet,... See full summary »
All right, not much votes for that sublime oddity of a film. I saw it by chance, together with the other "episodes" of Bill Douglas' autobiopic - if I may use that word.
It is quite unique. No other piece of cinema ever reached that utter sadness, ever showed those quietly shivering landscapes - except may be Dreyer's Vampyr, and possibly Straub / Huillet at their least boring. Dreyer ? Straub ? Huillet ? Yes, but you sometimes have those spectral moments, those white explosions in more mainstream, more meaty movies such as Them (just think of the beginning in the desert) or Kiss me deadly. Or, say, The Misfits, the garrulousness of which is (for me) redeemed by Monroe's silent dance around a tree in the sparkling white night.
When I hear Mr van Sant babbling about the cinema of reality and other fake highbrow concepts, I think of Bill Douglas who, 30 years before Mr van Sant, triggered the question with far more talent.
Couldn't Criterion do the world a favor and have these three films issued on DVD ?
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