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Eight acclaimed filmmakers bring their unique and differing perspectives to the 1972 Summer Olympic Games held in Munich. The segments include Claude Lelouch's take on Olympic losers and ... See full summary »
A factory manager in rural Czechoslovakia bargains with the army to send men to the area, to boost the morale of his young female workers, deprived of male company since the local boys have... See full summary »
Two women embark on a road trip after they are brought together by circumstance. Rebecca (Portman) flees her hotel after a fight with her mother-in-law (Maura) and hails a taxi driven by Hanna (Lazlo).
The painter Goya becomes involved with the Spanish Inquisition when his muse, Ines, is arrested by the church for heresy. Her father, Thomas, comes to him hoping that his connection with Brother Lorenzo, whom he is painting, can secure the release of his daughter.Written by
When asked why a film about such a quintessentially Spanish artist was made in English, the director replied "I don't speak Spanish." See more »
When Ines is kneeling in Lorenzo's office, the mic is visible at the top of the screen, above and to the left of her head. See more »
[model pointing at defaced portrait]
Why doesn't that painting have a face?
Because he is a ghost.
No, he is not.
Have you ever seen a ghost?
No. But I have seen a witch.
Oh, did you?
Yes, but she had a face.
So what did she look like?
She was... all bent and creepy, and she...
[...] See more »
Brilliant Portrait of Goya and Spain in the 18th/19th Century
Imagine the paintings and drawings of Goya in all their darkness and beauty coming to life - this is Milos Forman's masterful film. Goya (and us)witness the folly of the Spanish royal court, the murderous sadistic perversion of the Catholic Church, the cruel inhumane madness of the Napoleonic War, along with the sensuality and beauty of life passing. This is the film's main focus: to let us experience the time and place as if seen through Francisco de Goya's eyes. As expected of a Milos Forman's film, the locales, the customs, and the overall production replicates the Spain of the late 18th century and early 19th century with the exactitude of a court painting. The cast is also excellent. As an Inquisitor turned a Napoleon's officer, Javier Bardem deserves another Oscar nomination. Stellan Skargsdar as usual does a chameleon-like transformation this time into Goya. Natalie Portman elevates herself into a higher realm of acting as the doomed, beautiful Ines. And Randy Quaid steals the screen for a few seconds as the King. Milos Forman again has given us an emotionally- and intellectually-challenging portrait of a dark era and the role of art and artist. Although some of the dramatization is slightly contrived, the film is compelling and moving and its vision lingers as Goya's art.
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