George A. Romero
& Marc Caro
Francis F Coppola
Herman G. Weinberg
Roger Barlow, etc..
Ralph Steiner 2
Orson Welles, etc.
and Robert Florey
James Sibley Watson, etc.
Paul Strand, etc.
Sergei Eisenstein, etc.
Jean Painlevé Hans Richter
"The film's most memorable scene is one of true brilliance. In a Last Supper style scenario, the Monks sit round a table with wine and Tchaikovsky's Swan Lake playing with irony in the background, Beauvois focusing in on their faces with not a word said between them. These actors, all casted superbly, portray all manner of emotions from brotherly happiness to terror. It's a compelling moment. . ."
Leos Carax won the best foreign-language film at the 2012 Los Angeles Film Critics Association awards; he sent in the following speech: "Hello, I'm Leos Carax, director of foreign-language films. I've been making foreign-language films my whole life. Foreign-language films are made all over the world, of course, except in America. In America, they only make non-foreign-language films. Foreign-language films are very hard to make, obviously, because you have to invent a foreign language instead of using the usual language. But the truth is, cinema is a foreign language, a language created for those who need to travel to the other side of life. Good night." (read more)
"There's something heartbreaking about the loss of film from the art of filmmaking, and "Holy Motors" seems to be mourning that paradigm shift, even as it manages to be one of the most beautiful films I've seen shot in high-definition video. When the film starts with images from the silent era and spends so much time aggressively discussing the idea of obsolescence, the media quite literally is the message, and just one more layer of meaning that Carax is playing with, and a terribly ironic one." - HitFix
"Turkish film-maker Nuri Bilge Ceylan initially trained as an electrical engineer and worked as a commercial photographer until becoming a full-time director. Now in his early 50s, he's one of the most significant moviemakers to have emerged this century, an original figure in his own right and a major force in reviving a belief in the kind of serious, ambitious, morally concerned European art-house cinema that was taken to new heights by Bergman, Tarkovsky, Antonioni and Angelopoulos in the 1960s and 70s." - Philip French, The Observer
Lars von Trier
Anders Thomas Jansen
Both bizarre and beautiful, Passion in the Desert comes across as a very strange love story indeed. In this stunning adaptation of Honore de Balzac’s short story, a French army captain becomes infatuated with a wild leopard. . .
In the late 1940s, Dmytryk's "career was interrupted by the activities of the House Un-American Activities Committee, a congressional committee that employed ruthless tactics aimed at rooting out and destroying what it saw as Communist influence in Hollywood. A lifelong political leftist who had been a Communist Party member briefly during World War II, Dmytryk was one of the so-called "Hollywood Ten" who refused to cooperate with HUAC and had their careers disrupted or ruined as a result. The committee threw him in prison for refusing to cooperate, and after having spent several months behind bars, Dmytryk decided to cooperate after all, and testified again before the committee, this time giving the names of people he said were Communists." - IMDb
PLOT: At a New Orleans bordello, Hallie is the main attraction both for clients and for Jo, the madame. Her comfortable if tedious life is disrupted by the arrival in town of her true love. . .
For the Love of Movies, written and directed by veteran film critic Gerald Peary, is a unique insiders view of the film critics profession with commentary from many of Americas best-regarded reviewers.
"An early example of ultra-realism, this movie contrasts the quiet, bucolic life in the outskirts of Paris with the harsh, gory conditions inside the nearby slaughterhouses. Describes the fate of the animals and that of the workers in graphic detail." - IMDb
"Le Sang Des Betes describes a Paris abattoir, not only the methods of slaughtering animals, but also the melancholy district in which it is set, and the oddly genial characters of the people employed there. The treatment of this film has, surprisingly, a quiet and lyrical quality. - Melbourne International Film Festival
"Georges Franju's disquieting classic evokes the haunting film poetry of Jean Cocteau and has been called "perhaps the most austerely elegant horror movie ever made." - Pauline Kael
"French director Georges Franju's Eyes Without a Face (Les Yeux Sans Visage) is an unsettling, sometimes poetic horror film. Pierre Brasseur plays a brilliant plastic surgeon, Prof. Genessier, who has vowed to restore the face of his daughter, Christiane (Edith Scob), who was mutilated in an automobile accident. With the help of his assistant (Alida Valli), he kidnaps young women, surgically removes their facial features, and attempts to graft their beauty onto his daughter's hideous countenance. . . Franju's haunting, muted handling of basic horror material is what lifts Eyes Without a Face out of the ordinary and into the realm of near-classic. When the film failed to draw crowds under its original title, however, the distributors decided to exploit it as a two-bit "scare" flick with the new title The Horror Chamber of Dr. Faustus"
Hal Erickson, Rovi
. . . The "basic plot is embellished with such baroque elements as the professor's dog kennels (heard more often than seen in the film's creepily creative sound track) and the doves he keeps locked up. . . Other memorable details include Maurice Jarre's icy, mocking, jaunty score, the elegant Givenchy gowns worn by the women, and Christiane's eerie molded mask, which makes her look like a department-store dummy. . .
. . . there's a historical fact implicitly standing behind this movie - the German occupation of France and all the baggage that goes with it - among other things, the Nazi medical experiments on Jews and others; the attack dogs they kept, like Genessier's kennel dogs; and even certain film traditions associated with Germany."
"On the morning of June 23, 1959, Boris Vian was at the Cinema Marbeuf for the screening of the film version of his controversial "Vernon Sullivan" novel, J'irai cracher sur vos tombes (I will Spit On Your Graves). He had already fought with the producers over their interpretation of his work and he publicly denounced the film stating that he wished to have his name removed from the credits. A few minutes after the film began, he reportedly blurted out: "These guys are supposed to be American? My ass!" He then collapsed into his seat and died of a heart attack en route to the hospital." - www.jahsonic.com (more)
J'irai cracher sur vos tombes directed by Michel Gast in 1959 and released in the U.S. in 1963 as I Spit On Your Grave,is a French romantic melodrama about interracial love ("The Film That Defies Every Taboo!"; "He Passed For White! ...And They Loved It!") starring Christian Marquand, Antonella Lualdi, Fernand Ledoux, Daniel Cauchy, Renate Ewert, Marina Petrowa, Andre Versini, Paul Guers, and Jean Sorel.
Plot: "Spit tells the story of Lee Anderson, a 26-year-old man who takes a job at a bookstore in the small Southern town of Buckton to carry out a revenge plot. Anderson is African-American but can pass for white, much like his younger brother, who was lynched when the father of the young white woman he was in love with found out what he was. Anderson aims to strike back with extreme prejudice: he plans on seducing and the killing the richest, most entitled piece of Southern white pussy he can find."
I Spit on Your Grave was written by Jacques Dopagne, Louis Sapin, Gast and Vian. Marc Fossard provided the moody black-and-white cinematography, and Alan Goraguer created the jazzy musical score. Josette Trachsler was the producer. Currently, the film is not available on DVD but is available on YouTube (1 hour, 43 minutes, 21 seconds)
Quiet Flows The Don
Un Chant d'amour (A Song of Love)
"Two prisoners in complete isolation, separated by the thick brick walls, and desperately in need of human contact, devise a most unusual kind of communication." - IMDb
"the hellish environment of the prison becomes a hotbed for repressed sexuality and complex emotions, as both inmates and guard submit to their feelings of lust . . . that finds an escape in a surreal, claustrophobic nightmare that is punctuated by a scene of pastoral reminisce."
"Genet's work has been adapted for film and produced by other filmmakers. In 1982, Rainer Werner Fassbinder released Querelle, his final film, which was based on Querelle de Brest. It starred Brad Davis, Jeanne Moreau and Franco Nero. Genet never saw the film because smoking was not allowed in movie theatres. Tony Richardson directed a film, Mademoiselle, which was based on a short story by Genet. It starred Jeanne Moreau with the screenplay written by Marguerite Duras. Todd Haynes' Poison was also based on the writings of Genet. Several of Genet's plays were adapted into films. The Balcony (1963), directed by Joseph Strick, starred Shelley Winters as Madame Irma, Peter Falk, Lee Grant and Leonard Nimoy. The Maids was filmed in 1974 and starred Glenda Jackson, Susannah York and Vivien Merchant and Italian director Salvatore Samperi directed another adaptation of the same play, La Bonne." - MUBI
Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple's bond of love is severely tested. - Offical Website
Carnival of Souls
The Saragossa Manuscript
Has, Wojciech J.
with Marilyn Monroe & Joseph Cotton
Bringing Up Baby
with Cary Grant & Katharine Hepburn