People and life can be cruel, and in their face, Fannette is cool: toward an old acquaintance, to her daughter, to colleagues. Beneath the surface, she roils with passion for a lost love, ... See full summary »
Bernard Le Coq
In the woods, a 13-year-old boy is grabbed by an escaped convict and told to bring money later that day. The boy does as he's told, only to be attacked by the convict's partner. A murder ... See full summary »
The journey of Michael Padovic, an American professor who arrives with his wife, Helene, at a Portuguese convent where he expects to find the documents needed to prove his theory: ... See full summary »
Manoel de Oliveira
Luís Miguel Cintra
A young film director is turning a movie with his friend Christa (reminds us of the real-life relationship between Garrel and Nico). In the film-within-the-film there are two couples, one ... See full summary »
A group of drop-outs, losers and criminals are travelling in a stolen Mercedes seemingly aimlessly along numerous derelict houses and impassable roads to eventually end up on an old ... See full summary »
There are films that personify the principle that movies are so called because they move, and it follows that what moves is what is shown. The image moves. Films are about showing. They then get words added and once words come along the moving about bits seem to demand that sense is made of them. Night Wind is essentially a movie in the full sense. We watch people and also listen to them. But since they never say anything interesting we never really get beyond knowing their names. A red Porsche is just as much a star as the actors. A character walks out of shot. We linger. No rush. The car speeds into the night. It goes. We stay. Life is only important at a whim. All movements are either as important or not important at all. Audiences who like conventional films might not like this. Those who understand the maxim, showing, not telling will love it. I marvelled at it.
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