The last film of Andrzej Munk, who died in a crash during the filming. A German woman on a ship coming back to Europe notices a face of another woman which brings recollections from the ... See full summary »
Life story of a charming scoundrel, with little dialogue other than the star/director's witty narration. As a boy, only he survives a family tragedy when he's deprived of supper (poisonous ... See full summary »
Marlon Riggs, with assistance from other gay Black men, especially poet Essex Hemphill, celebrates Black men loving Black men as a revolutionary act. The film intercuts footage of Hemphill ... See full summary »
An army of gay/nazi bikers make their engines roar and ride the way to pain/pleasure as sexual and sadistic symbols are intercut into the dazing chaos and rhythmic experiences of this ... See full summary »
Real-life individuals discuss topics on society, happiness in the working class among others and with those testimonies the filmmakers create fictional moments based on their interviews. ... See full summary »
Filmmaker Shirley Clarke ("The Connection") directs this powerful, stark semi-documentary look at the horrors of Harlem ghetto slum life filled with drugs, violence, human misery, and a ... See full summary »
Pollet and Schlöndorff imagine the Mediterranean as a supernal arena.
"Pays multiples faussement endormis" (A host of countries wrongfully put to sleep) - as the narration goes.
The calm of the Mediterranean is an illusion, as envisioned by the metaphor of dragons-teeth in a harbour ("both calm and disturbed"). There are moments of tender beauty such as Seurat-ian water, and scenes from a wedding. The rest of the movie shows ruins, including World War II detritus and the temple at Vassai/Bassae, extremely bloody bull-fights, and an otherworldly hospital.
Méditerranée is morbid, insect buzzing is as much the soundtrack as the composed one of Antoine Duhamel. It's not much of a surprise that it didn't really get distributed outside Europe. Pollet's movie l'Ordre, which is a documentary about a leper colony, is further evidence of his obsession. The cycle of life is turned into something macabre, with the idea being that an impostor is waiting to take over the reins from you.
The imagination of the directors is a huge conceit, an outmoded conceit. Viewers who think that Méditerranée quotations in Godard's recent Film Socialisme show otherwise, think again, Godard was always of the same cloth as Pollet, quoting TS Eliot in Eloge de l'Amour, seeing Roman soldiers march over the landscape. It's an imagination that I lost myself in though, but accepting a cultural narrative like this is going to be a tall order for most in a post-modern era.
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