A fantasized portrayal of Polish auteur Walerian Borowczyk: Boro in the Box discovers a cruel and obscene world. He experiences banal yet colorful adventures, caressing erotic birds and organic cameras in a phantasmagorical Alphabet.
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A female professor, a writer, and an orchestra conductor -three characters, two couples- attend a grand literary cocktail party. The writer has just won the prize for his book "Warsaw ... See full summary »
"A Cambodian Spring" is an intimate and unique portrait of three people caught up in the chaotic and often violent development that is shaping modern-day Cambodia. Shot over six years, the ... See full summary »
Lu Jie is having coffee with her desperate friend Sang Qi, who believes her husband is cheating on her. At the same time at a hotel across the road from the coffee shop, Lu Jie sees her ... See full summary »
Blending historical reconstruction with very loosely linked 'dramatic' scenes and documentary sequences, the film constitutes a playful, painterly sequence of variations on the argument ... See full summary »
astounding, little-seen masterpiece of independent cinema
Here's a film richly deserving of wider exposure. Can't someone pick it up for distribution? It's been described as "the missing link between THE LAST PICTURE SHOW and SHADOWS", which isn't quite on the mark. I think a better pair comparison could be made between the early semi-documentary films of Willard Van Dyke and Pare Lorentz and SHADOWS, due to the casting of unknowns and non-actors in all roles.
Seen nationally in 2005 as part of the Rural Route Film Festival (under the title SPRING NIGHT, SUMMER NIGHT), this film manages to focus on the taboo topic of incest without being sensational in the slightest, and that's only one of its amazing facets. A stark, black and white drama set (and filmed) entirely in southeastern Ohio, amidst the farms, gas stations, bars and simple homes of the area, it's filled with beautiful and memorable photography. This is not a "verité"-type outing of the "DAVID HOLZMAN'S DIARY" variety at all, but an extremely nuanced, melancholy tale of two lovers who may or may not be brother and sister (depending on which story they believe from which parent) with stunning set pieces on foggy hills, in musty barns, dimly-lit dinner tables, on dusty roads. Intensely moving and superbly acted, it feels nearly perfect and is a total anomaly for late-1960s independent cinema, so often considered an urban-based art form.
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