A writer’s block leads to a divorce and a new friendship. La torture sur le dos was photographed by Bruno Nuytten and is a film that needs to be rediscovered.
Secção: Director's Cut
In Jacques Tourneur Le Médium…, Alain Mazars, responsible for some documentaries on cinema, focuses on the work of one of the filmmakers that better understood cinema’s mission of “turning the invisible visible”.
Gory remake of the classic story, only this time, the phantom is a man who was raised by rats (Julian Sands) deep under the Paris Opera House. He falls in love for an understudy (Asia Argento).
This documentary shows us the tempestuous present state of the once called “the most handsome man in the universe”, the last “muse” of Luchino Visconti: austrian actor Helmut Berger.
The extras in classic Hollywood films are the center of attention in Film noir 001// 002// 003.
Charlie Lyne’s Fear Itself is a reflexion about fear in cinema through the assembling of scenes from dozens of pre-existing films. Lyne made something similar with the teen movie genre in the previous Beyond Clueless.
In Robert Frank – Don’t Blink, street photographer and filmmaker Robert Frank doesn’t blink while looking to the past, revisiting the ups and downs of his life, namely his close relationship with the Beat Generation.
Back Track is a 3D experiment with classic cinema.
One of the last German UFA silent films and one of the greatest examples of German expressionism (and a major influence in American film noir). Set design by Erich Kettelhut (“Dr. Mabuse”, “Metropolis”) and cinematography by Günther Rittau (“Metropolis”, “The Blue Angel”).)
Bring Me the Head of Tim Horton is between the making of and the essay film.
On one level, High School movies all share them same themes: fitting in, making the grade and getting laid. But buried deeper in these guilty pleasures are certain truths we choose to ignore. Join director Charlie Lyne as he scours through our most beloved teen films, shedding new light on the treacherous terrain that is High School.)
“El Adios Largos” remakes Robert Altman’s “The Long Goodbye”.)
Kim Longinotto builds an unusual object in a career driven by social documentary film: a collage of love stories from the history of British film, driven by the music of Richard Hawley. “Love is all”: words that echo in the romantic songs of Hawley and the gaze of the British filmmaker.)
“Remake, Remix, Rip-Off” is a hallucinating journey through Turkish Z movies.)
“Shadowland”, by John Skoog, films the shadows left by John Ford’s historical landscapes in contemporary times.)
A young girl’s “sweet sixteenth” birthday becomes anything but special as she suffers from every embarrassment possible.)
An essay by Mark Rappaport on Douglas Sirk’s actresses and the role of mirrors in his films.)
A love letter written over the female faces of Jacques Tourneur’s films.)