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The director has elicited an excellent performance from his central actor Kravchenko". For Klimov, the dreamscapes of war realized surrealism’s oneiric brutality. Cast: James Murray, Barbara Kent, George Kotsonaros, Jack Hanlon, Harry Gribbon, Wheeler Oakman Director: William Wyler Screenwriter: Charles Logue, Albert DeMond Distributor: Kino Lorber Running Time: 65 min Rating: NR Year: 1929 Release Date: July 27, 2020 Buy: Video. Singlehandedly inaugurating the midnight-movie craze upon its release in 1970, El Topo combines the arid landscapes and ultraviolent showdowns of the Italian western with the dogged quest for spiritual illumination that’s at the heart of King Hu’s Touch of Zen. The Criterion Collection has announced the release of Director Elem Klimov’s powerful masterpiece, Come and See (1985) on a new 2K restoration Blu-ray. Read Bible online", "Biennale Cinema 2017 | Official Awards of the 74th Venice Film Festival", "Come And See (Idi I Smotri) - English subtitled - Lumière Cinema Maastricht", "New Restoration of Elem Klimov's Come and See Wins Best Restored Film Award at Venice Classics", "Click to see the full poster for our new restoration of COME AND SEE! [44], The film has since been widely acclaimed in the 21st century. "[49] Tim Lott wrote in 2009 that the film "makes Apocalypse Now look lightweight". Both works explore civilization and its discontents via the microcosm of an apartment complex. He’s turned away from jobs that are seemingly available, he engages in prolonged conversations with a white intellectual who uses logic to disguise his racism, and he endures hysterical local propaganda claiming there’s a “black invasion,” all while the local travel agency advertises a “Vacation in black Africa.” Hondo burrows into the madness wrought by systemic racism through various techniques, ranging from animation to interior monologue to montage sequences. [53] Phil de Semlyen of Empire has described the work as "Elim [sic] Klimov’s seriously influential, deeply unsettling Belarusian opus. Alcaff), a freedom fighter who finds coming home difficult, both psychologically and practically, in the wake of the Indonesian National Revolution. Encoded using the time consuming 2 pass, 10 bit color at 6000 kbps, from a Blu-ray source, for the highest quality possible. Like Dijbril Diop Mambéty’s subsequent Touki Bouki, Soleil Ô is a tour de force of intellectual and cinematic daring. [13], For eight years,[9] filming could not begin because the State Committee for Cinematography (Goskino) would not accept the screenplay, considering it too realistic, calling it propaganda for the "aesthetics of dirtiness" and "naturalism". Hellinger’s devotion to this idea allows for details that are now common of police shows and films, as many passages here concern fingerprinting, fabric analysis, and the successes and dead ends that result from interviewing witnesses. Formally, this film is a more mature examination of exploitation than a mere plot summary can convey. Carmody talks about getting the job as producer, casting a lot of local “wannabes” in secondary roles, his hands-on approach, and his later involvement with a number of cult Canadian genre films. The monochrome Fando y Lis boasts deeper blacks and greater clarity of fine detail than ever before on home video. He goes on to discuss leveraging the popularity of the script into a directing gig, using library music because they couldn’t afford a full score, why he likes shooting in bathrooms, and the development of his directorial style over the course of his career from minimalist by necessity to minimalistic by preference. The famed columnist turned producer most memorably identifies different neighborhoods and their interlocking relationships, his voiceover complementing anecdotes that suggest the typical lifecycle of the city before a more traditional plot kicks in. [citation needed] The Soviet marching song "The Sacred War",[23] German folk song Im Wald im grünen Walde[citation needed] and Russian folk song "Korobeiniki" (lit. A 2018 interview with Med Hondo delves into the “nonexistent” state of African cinema when he made Soleil Ô. Bahram Beyzaie explains how Downpour was a response to Iranian cinema during the early 1970s, and Héctor Babenco discusses his aversion to academia and how watching films by Yasujirō Ozu and Ingmar Bergman formed his cinematic identity. Shivers opens with an advertisement that introduces the film’s central location, the science fiction-sounding Starliner Towers, in all its petit-bourgeois perfection. Artistic antennae of a certain sensitivity must have been picking up some peculiar vibrations in 1975, when, within months of sci-fi impresario J.G. Or has it? The smallest of details are vividly rendered, lending the interiors of Claudine’s cramped apartment and her family’s Harlem neighborhood a strikingly tactile quality. Taking cover behind his felled cow, Flyoria awakes in the empty field, now absolutely still, with the mangled animal corpse as his pillow. Still, even these rougher patches look gorgeous, boasting an impressive contrast ratio, with strong black levels and an abundance of grain that retains the soft, textured look of celluloid. Most interesting is his discussion of the many tropes and traditions that inform the film, from, most obviously, the boxing picture, to the American grifter and the pairing of a latchkey kid with a rough-edged father figure. Such specificity is thrilling and unusual even today, as cities like New York and Los Angeles are still too often utilized vaguely as shorthand for cinematic myth-peddling. Lynch imbues the film with a wrenching matter-of-fact quality that honors Merrick and his efforts to be an upper-crust English gentleman, who wears nice suits and takes tea with friends. However, this sense of specificity doesn’t extend to many of the characters themselves, especially the police, who generally suggest white knights. In a recent interview with Cronenberg that contains some overlap with the commentary, he discusses the dearth of genre films in the Canadian film industry at the time, almost moving to L.A. to work with Roger Corman, the film’s less than enthusiastic reception, and its influence on Dan O’Bannon’s script for Alien. [19] Klimov and his cameraman Rodionov employed naturalistic colours, widescreen and many Steadicam shots; the film is full of extreme close-ups of faces, does not flinch from the unpleasant details of burnt flesh and bloodied corpses, and the guns were often loaded with live ammunition as opposed to blanks. Where the earlier films show Jodorowsky arriving at private rituals and symbolic acts to deal with his own issues, Psychomagic expands his sphere of influence to include men and women who find themselves in a cul-de-sac of existential distress. Cronenberg’s root metaphor of the parasites as libidinal motivators flips the script on traditional notions of good and evil, the individual and the collective, and sex and death. Flyora and a young woman bearing a strong resemblance to Glasha manage to escape; the young woman is dragged by her hair across the ground and into a truck to be gang raped, while Flyora is forced to watch as several Molotov cocktails are thrown onto and within the barn before it is further set ablaze with a flamethrower as other soldiers shoot into the building. Klimov refuses to sanitize or sentimentalize the conflict that in his native language is known as the Great Patriotic War. The exchanges between El Topo and these gurus is often leavened with off-kilter humor and visual details: There’s a Zen meditation involving freshly laid eggs and a corral that encloses dozens of white rabbits, Lewis Carroll’s Alice in Wonderland being the obvious referent. The early scene in which he departs from his mother and sisters presents a disconcerting, even alienating complex of emotions: the histrionic panic of his mother (Tatyana Shestakova), who alternately embraces and rails against him; the hardened indifference of the soldiers who’ve come to retrieve him; and the jejune oblviousness of Floyria himself, who mugs at his younger siblings to mock his mother’s concerns.

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