Anna, a detached and diffident director, arrives in Germany to show her latest film; she checks into a hotel, invites a stranger to her bed, and abruptly tells him to leave. He asks her to ... See full summary »
Gerald Otley, wannabe antiques dealer, is kicked out of his flat for failing to pay rent, sleeps at a friend's home for the night, wakes up two days later in an airport field, and finds himself entangled in international espionage.
Al Shaw's life revolves around motor racing and his back country junkyard, the "Smash Palace". His French wife, Jacqui, doesn't appreciate the lack of attention due to Al's obsession with ... See full summary »
Anna Maria Monticelli,
An astronomer and a cryptographer uncover a series of ancient tunnels, unwittingly unleashing a deadly Sphinx. In order to trap the Sphinx back in its tomb and stop impending destruction, ... See full summary »
Laura is one of the most famous film theorists in history and deservedly so for her "Visual Pleasures..." paper. This film is, to my mind, a direct result of her criticism. It is a critique of visual pleasure in narrative film, and man does it feel that way. Granted, I haven't seen this film for years, but I remember it as being two of the most excruciating hours of my life. Read her work, it's brilliant, but see this film at your own risk. You have to REALLY like theory to see the whole thing, if you can even find it. First try watching Peter Greenaway's "The Falls", if you enjoy that, you might be ready for the beating that is "Riddles of the Sphinx". I excluded discussing Peter Wollen just to streamline my thoughts, he's brilliant in his own right.
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