A traveling projection-equipment mechanic works in Western Germany along the East-German border, visiting worn-out film-theatres. He meets up with a depressed young man whose marriage has just broken up, and the two decide to travel together.
On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's Day the World Ended (1955). The producer is nowhere to be found and director Friedrich... See full summary »
After World War II, a small French village struggles to put the war behind as the controlling Communist Party tries to flush out Petain loyalists. The local bar owner, a simple man who ... See full summary »
After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
Catherine, a concert pianist, is surprised one night by the arrival of her best friend from childhood, Marie-Alexandrine (Max), whom she hasn't seen for 25 years. Catherine and Max were ... See full summary »
An ex-convict struggles to survive by brute force alone in a turn-of-the-century slum in Braila. Codine (Alexandre Virgil Platon) is the thug who served 10 years for murdering a friend. He ... See full summary »
Alexandru Virgil Platon,
Tom Ripley has a sweet deal with an art forger. The forger creates the paintings; Tom sells them. But another criminal business associate wants Tom to go in for an even riskier enterprise: murder. Tom suggests his associate ask a local picture framer instead. That man has a fatal disease, or so it's rumored. More, he has a wife and kid that surely he wouldn't want to leave penniless. Let this picture framer be a hit man, and no one will suspect. The terminally ill craftsman may agree to the misdeed, and several more, but he'll end up needing Tom Ripley in a pinch. Written by
Patricia Highsmith initially disliked Wim Wenders' film because Ripley's character didn't match her intentions. Only after she saw the film at a regular screening did she admit that Wenders had captured the essence of Ripley. See more »
Let's start with the good news: Bruno Ganz, in the part of a tragic hero tricked into felony, will make it worth your while. But pretty much everything else about "The American Friend" will please only the most dedicated followers of art-house director Wim Wenders. Although this is one of his earliest feature-length movies, it is already riddled with his trademark allusions to the history and theory of moving images, ranging from a Zoetrope toy and ubiquitous surveillance cameras to the lead character putting himself "in frame" by hanging a picture frame around his neck. Against the backdrop of Hamburg's grimy port, Wenders indulges his obsession with American culture in the guise of Dennis Hopper. Posing as a fake cowboy, he feeds fake American paintings back to the American market by way of a German auction house. The final third of the story, from the moment Zimmermann gets on the train, is completely incomprehensible without prior knowledge of the book it is based on, "Ripley's Game". What little action we see is awfully shot; most of the time, it's slow-moving people mumbling lines from Bob Dylan songs as they go about their somber business in a parallel universe heavy with misery and meaning. What we need is filmmakers who care less about movies and more about life.
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