A story film with animated elements about the people who built the Kakhovka hydroelectric power station. The construction of the power station means many Ukrainian villages are destined to be flooded. The film tells the story of people who are parting with the homes they love.
Michurin aka Life in Bloom
The film is about the life and work of the prominent Russian biologist Ivan Michurin. Reports of gardener-Michurin’s extraordinary experiments with plants reach far beyond the borders of the Russian empire. Trying to persuade him to move to the United States, a group of Americans comes to the village where Michurin lives. They promise him all kinds of benefits. But Michurin, despite his lack of recognition by the government, is devoted to Russia. Overcoming obstacles created by the tsarist bureaucracy, the scientist continues with his experiments on natural selection and dreams of the time when all people will be able to take full advantage of his achievements. The Bolshevik Revolution of 1917 makes his dreams come true and Michurin’s orchard in Kozlov becomes a center of Soviet experimental biology.
Awards. Stalin National Prize of the Second Degree, 1949. The Labor Prize at the Gottwaldov (now Zlin) Film Festival, Czechoslovakia, 1949.
Osvobozhdeniye AKA Liberation
Liberation features events of the Soviet occupation of western Ukraine, at the time a part of Poland, after the out-break of the Second World War in September 1939. Following official Soviet historiography, the film presents the annexation of Western Ukraine, the result of the Nazi-Bolshevik partition of Poland, as the historic act of “reunification of all Ukrainian lands into one Soviet-Ukrainian state.” Scenes include: a Hutsul village public meeting addressed by Dovzhenko himself; the opening of the People’s Assembly of Western Ukraine in L’viv, October 26th, 1939; the opening of the People’s Assembly in Bialystok; adoption of the act of reunification of Western Ukraine with the Ukrainian SSR by the Ukrainian Soviet Parliament in Kyiv and by the Supreme Soviet in Moscow.
The year is 1919. German troops retreat from Ukraine. The Directory, the Ukrainian national government lead by Symon Petliura, takes control of Kyiv. Meanwhile, the Bolshevik division commanded by Mykola Shchors is marching on the capital. The Bolsheviks capture the cities of Vinnytsia, Zhmerynka, and others one by one, but lose Berdychiv to Petliura’s forces. They are demoralized by the defeat. By his personal example of courage and military skill, Shchors inspires the retreating Red troops and leads them to victory over the enemy.
Ivan (1932)
Cinemapoem about building of Dniproges (Dnieper Hydroelectric Station), about the fate of rural fellow which comes together with other boys and girls to build one of most buildings of socialist industrial construction. Narrates the language of the poetic cinema of O. Dovzhenko about the process of alteration of consciousness of rural fellow due to industrialization.
Recipient of an award on ICF in Venice in 1934.
Earh (1930) 59 min.
Poetic cinema story about events related to collectivization in Ukraine at the end of 20th years of the last century, about creation of the first of a collective farm communes, about class enmity on a village.
The best film Dovzhenko and one of the best films in history world to the cinema.
A film "Earth" on the World exhibition in Brussels of 1958 was adopted among the twelve best films of all times and people as a result of questioning, conducted Belgian cinematic among 117 film critics andconnoisseurs of the films from 26 countries of the world. During many subsequent years "Earth" was multiple included in the various lists of the best films of the world of XX century.
In Arsenal, Alexander Dovzhenko, perhaps the most radical of the Soviet directors of the silent period, altered the already extended conventions of cinematic structure to a degree greater than had even the innovative Sergei Eisenstein in his bold October. The effect of this tinkering with the more or less accepted proprieties of motion picture construction produced a work that is actually less a film than it is a highly symbolic visual poem. For example, in a more linearly structured piece like October, the metaphors, allusions, and analogies that arise through the construction of the various montages replace rather than comment on essential actions within the film. In Arsenal, however, the symbolism is so purposely esoteric, with seemingly deliberate barriers established to block the viewer's perception, that the relationship of individual symbols or sequences to the various actions of the film is not immediately clear.
Love's Berries 1926
The mistress of hairdresser Jean Kovbasyuk throws a baby up to him. Jean decides in any method to be delivered from a "natural" child...Getting a call to the judicial investigator, Kovbasyuk is given up to search a child. A mistress labours for in the court of people's "justice". However much it turns out after registration of marriage, that Jean and in actual fact was not the father of child. But lately...
imdb user comment
Like a dream, some things can only be experienced to understand
This film has some of the most beautiful imagery and haunting music ever. (Not to overstate it or anything) A three hander set in a post apocalyptic Oz outback (but one which is wildly more fantastical than Mad Max), Spirits of the Air tells the story of Smith, a stranger on the run who happens upon Felix and Betty, far into the desert.
A man struggles with memories of his past, including a wife he cannot remember, in a nightmarish world with no sun and run by beings with telekinetic powers who seek the souls of humans.
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This is a documentary about the famous tower which was built for the 1889 World Fair and should have been destroyed afterward but the people in Paris were wise enough to change their minds.it was made between two movies and the music was composed and added in 2003 by Arnaud Gauthier; Generally I do not go much for Clair who is the only famous French director of the thirties I have no interest in. This 14 min short will not make me change my mind.It's all the more pointless since in "Le Mystere De La Tour Eiffel",a contemporary movie, Julien Duvivier had already given exciting shooting of the tower in the last twenty minutes. And at least to these eyes, Duvivier is a much more inventive director than the director of "14 Juillet ".
Synopsis
One of the most endearing of all Peanuts' specials finds Charlie Brown nurturing the thinnest, scraggliest Christmas tree ever. At first the gang makes fun of Charlie for choosing such an ugly tree for the holiday but a timely assist from Linus makes the true message of the season come shining through. Everyone realizes in the end that a little affection can make all the difference in the world... even to a tree.
A pioneering work that blurred the boundaries between fictional and documentary styles, Ice was hailed by filmmaker and Village Voice critic Jonas Mekas as "the most original and most significant American narrative film" of the late sixties. An underground revolutionary group struggles against internal strife which threatens its security and stages urban guerrilla attacks against a fictionalized fascist regime in the United States. Interspersed throughout the narrative are rhetorical sequences that explain the philosophy of radical action and serve to restrain the melodrama inherent in the "thriller" genre. (Harvard Film)
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Shadows of Forgotten Ancestors has often been described as a Carpathian Romeo and Juliet - that is, if Romeo had the tenacity to live after his beloved's death. Sergei Paradjanov prefaces the tragic tale set in the Carpathian mountains as the land "forgotten by God and men", and from the austerity of the environment, it is evident that survival comes at a high price. In essence, the story is incidental to the observations of daily peasant life: the Orthodox order of mass, the rites of spring, the rhythm of the sickle cutting the fields.
"In the style of director Paolo Sorrentino's film, the plot will have to remain in the dark - it unfolds itself with such elegance that it would be a crime to give anything away. Even the genre remains a mystery for almost an hour - and then plays out with a brilliant flair for the unexpected."
BBC Films
Synopsis:
On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is stuck in France making a film for TV. He's over budget and uninspired; the film, called "Passion," seems static and bloodless. Hanna owns the hotel where the film crew stays. She lives with Michel, who runs a factory where he's fired Isabelle, a floor worker. Hanna and Isabelle are drawn to Jerzy, hotel maids quit to be movie extras, people ask Jerzy where the story is in his film, women disrobe, extras grope each other off camera, and Jerzy wonders why there must always be a story.
Synopsis
Geremia de' Geremei is 70. A usurer, ugly, filthy, rich and tight-fisted, cynical and ironic. He has a sick and obsessional relation with everything: his mother, his father, money, women. Life itself.
That's why he thinks he's lonely. But in fact he is not alone.
They're all like him. We are all like him.
From The New York Times:
By A. O. SCOTT
Published: October 20, 2004
Thanks to movies like "36 Fillette," "Romance" and "Fat Girl," Catherine Breillat has acquired a reputation for both fearlessness and perversity. Her two most recent movies, "Anatomy of Hell" and "Sex Is Comedy," arriving in New York theaters within a week of each other, will no doubt extend that reputation, though in different ways. The newer movie, "Anatomy of Hell," which opened last Friday, takes her fascination with female sexuality to a new extreme of literal-minded explicitness. "Sex Is Comedy," which was completed in 2002 and which opens at Film Forum in Manhattan today, is much less graphic than "Anatomy," and it is probably Ms. Breillat's most restrained and self-critical film. There is less nudity and less on-screen sex than in her previous movies, but a good deal more self-exposure.
Shepitko graduated from VGIK, where she had studied in the workshop of Alexander Dovzhenko (whom she always referred to as her mentor) and Mikhail Romm in 1963. Her diploma work was Znoi / Heat (1963), made for Kirgizfilm from "The Camel's Eye", a story by the Kirgiz writer Chingiz Aitmatov, about a clash of generations in which a middle-aged woman, director of a civil engineering school, yearns for her days as a pilot during World War II and struggles to understand her daughter's generation. Shepitko's next project was the short film Rodina elektrichestva / Homeland of Electricity (1967), from the story by Andrei Platonov about the coming of electricity to a Russian village after the Revolution. Frequently compared to the work of her master Dovzhenko, this film, like Andrei Smirnov's Angel, was shot as part of a portmanteau film, Nachalo nevedomogo veka / The Beginning of an Unknown Century, made to mark the fiftieth anniversary of the Revolution. But the films were banned for twenty years, and Rodina elektrichestva surfaced only in 1987, long after Shepitko's death. In Ty i ya / You and I (1971), a brain surgeon suddenly experiences an identity crisis and goes to Siberia to sort out his life. Shepitko's greatest achievement is Voskhozhdenie / The Ascent (1976), taken from Vasil Bykau's story "Sotnikov" and set in German-occupied Belorussia in 1942. This story of the tragic fate of a group of partisans is replete with spiritual strength and religious symbolism. It won the Golden Bear at Berlin in 1977. Shepitko died in a car crash in 1979, after beginning work on a version of Valentin Rasputin's lament for a Siberian village, "Farewell to Matyora". The film was completed by her husband, Elem Klimov, as Proschchanie / Farewell (1983). He also directed a short film made in her memory, Larisa (1980).
An Austrian military officer and roue' attempts to seduce the wife of a surgeon. The two men confront...
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Beginning with a documentary style that immediately hooks the viewer, THE DAY THE EARTH STOOD STILL, based on the Harry Bates short story "Farewell to the Master," becomes as much a human interest story as it does a sci-fi B-movie classic. The film soberly depicts the arrival of an alien dignitary, Klaatu (Michael Rennie), who has come to earth with his deadly robot, Gort (Lock Martin), to deliver the message that earthlings must stop warring among themselves--or else. After being shot at by ignorant, panicky military guards, Klaatu is brought to a Washington, D.C., hospital, where he begs a sympathetic but frank Major White (Robert Osterloh) to gather all the world's leaders so he can tell them more specifically what he has come 250 million miles to warn them about. Losing patience, Klaatu slips into the human world, adapting a false identity and living at a boarding house where he meets a smart woman with a conscience, Helen Benson (Patricia Neal), and her inquisitive son, Bobby (Billy Gray). Both mother and son soon find themselves embroiled in the complex mystery of Klaatu, his message, and the government's witch hunt for the alien. Made during the cold war--when Americans were obsessed with the destructive capabilities of the atomic bomb--THE DAY THE EARTH STOOD STILL, thanks to its beautiful pacing, excellent dialogue, and haunting score by Bernard Herrmann, is still a treat for contemporary audiences
Synopsis:
Taking place in a ruined family compound after the war, the film tells the story of the once prosperous Dai family. The husband and patriarch, Dai Liyan (Shi Yu) is an invalid, and spends his days in the courtyard nostalgic for the past. His marriage to Zhou Yuwen (Wei Wei) has long been rendered loveless, though both still feel concern for the other. Liyan's young teenage sister Dai Xiu (Zhang Hongmei), meanwhile, is too young to remember the past, and stays cheerful and playful in the ruins of her home.
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LOVE MASSACRE
(1981, Hong Kong) Directed by Patrick Tam
Set in a surprisingly minimalist San Francisco, Patrick Tam's stylish slasher movie manages to evoke both Antonioni and Mario Bava in this tale of a ravishing young co-ed (Brigitte Lin) whose studly boyfriend (Chang Kuo-chu) turns into a demented stalker after the suicide of his sister.
UCLA Film & Television Archive
Slice-of-life look at a sweet working-class couple in London, Shirley and Cyril, his mother, who's aging quickly and becoming forgetful, mum's ghastly upper-middle-class neighbors, and Cyril's pretentious sister and philandering husband. Shirley wants a baby, but Cyril, who reads Marx and wants the world to be perfect, is reluctant. Cyril's mum locks herself out and must ask her snooty neighbors for help. Then Cyril's sister Valerie stages a surprise party for mum's 70th birthday, a disaster from start to finish. Shirley holds things together, and she and Cyril may put aside her Dutch cap after all.
IMDb synopsis:
The unsuccessful writer Stephen Byrne tries to force his servant Emily Gaunt sexually while his wife Marjorie Byrne is visiting a friend and accidentally strangles her. His crippled brother John Byrne coincidently comes to his house in that moment, and Stephen asks him to help to get rid of the corpse and avoid an scandal, since his wife would be pregnant. The naive and good John helps his brother to dump the body in the river nearby his house. Stephen uses the disappearance of Emily to blame her and promote his book. When the body is found by the police, all the evidences points to John, and he becomes the prime suspect of the murder.
Cary, a wealthy widow, falls in love with the much younger nurseryman, Ron Kirby. This provides gossip for the country club set, and her children are ashamed that she plans to remarry below her station. Ron is an independent man who can ignore the petty conventions of society, but can Cary also ignore them?
Douglas Sirk is a truly underrated director, and this film shows why. Although this film becomes more highly regarded as the years go by, especially by non-Americans, it is usually regarded as just a well made soaper. Big mistake. This is a very angry film, a scathing commentary on the conformity and mindlessness that characterized much of the 1950s. Remember, this film was made in 1955, before there were any beatniks or hippies, before the civil rights movement, before there was any pot smoking, before anyone beyond the fringes questioned any of the basic values underlying capitalist America. America was at the peak of its power and prestige, and this was perhaps the first mainstream film that questioned the values that presumably were responsible for that ascendancy. Because this film is essentially about class and the primacy that human relationships must have over material gain, social acceptance, and social conformity.
Description: Buster Keaton's third starring feature (discounting 1920's The Saphead, which was not conceived with Keaton in mind), Our Hospitality is a boisterous satire of family feuds and Southern codes of honor. In 1831, Keaton leaves his home in New York to take charge of his family mansion down South. En route, Keaton befriends pretty Natalie Talmadge (Keaton's real-life wife at the time), who invites him to dine at her family home. Upon meeting Talmadge's father and brothers, Keaton learns that he is the last surviving member of a family with whom Talmadge's kin have been feuding for over 20 years. The brothers are all for killing Keaton on the spot, but Talmadge's father (Joe Roberts) insists that the rules of hospitality be observed: so long as Keaton is a guest in the house, he will not be harmed. Thus, Keaton spends the next few reels alternately planning to sneak out of the mansion without being noticed, and contriving to remain within its walls as long as possible.
Roberto Rossellini’s follow-up to his breakout Rome Open City was the ambitious, enormously moving Paisan (Paisà), which consists of six episodes set during the liberation of Italy at the end of World War II, and taking place across the country, from Sicily to the northern Po Valley. With its documentary-like visuals and its intermingled cast of actors and nonprofessionals, Italians and their American liberators, this look at the struggles of different cultures to communicate and of people to live their everyday lives in extreme circumstances is equal parts charming sentiment and vivid reality. A long-missing treasure of Italian cinema, Paisan is available here for the first time in its full original release version.
![[montparnasse.JPEG]](http://2.bp.blogspot.com/_hvi689YPaB8/S2Xx8pdoKXI/AAAAAAAAEh0/xnXzUqWrhlo/s1600/montparnasse.JPEG)
One night, three young women, the neon lights of the boulevards, some empty streets, a shopping mall, a quiet garden, the square facing the tower, the esplanade of the train station, a camera, a concert, a terrace, then the city awakening. Montparnasse. (IMDb)
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