Written By: Brunello Rondi, Ugo Guerra & Luciano Martino
Cinematography: Carlo Bellero
Editor: Mario Serandrei
Cast: Daliah Lavi, Frank Wolff, Anna Maria Aveta, Dario Dolci, Francs Mazzoni, Rossana Rovere
A lonely, sexually-uninhibited young peasant is subjected to an exorcism after she hexes a man who rejects her advances.
This is a film I had never heard of before and stumbled upon. Definitely did not regret it.
What will attract many to this film is the lead played by Daliah Levi, She is amazing in her role and quite gorgeous. That you can see why so many are tempted by her. She throws herself into the role even more physically in one acne where she continuously contorts her body. She is as beautiful as the cinematography throughout.
This is an obsessive love story that turns into madness and questionable passion or a growing mental illness that seems to grow into group hysteria. By the end of the film, there is barely anyone who is truly innocent.
This film can be seen as a precursor or maybe even an early inspiration for Isabelle Adjani’s Iconic performance in POSSESSION
The film is a neorealist Italian movie with religious overtones and folk horror elements.
The film plays out a tragedy really as for all of those supposedly scared of her. She is ultimately a victim throughout. Most of the men trying to save or cure her violate or viciously attack her. All of them so-called holy and come down with her throw her away. Even the man she is in love with the man who blames his lust for her. All on her as some kind of spell.
At first, her lover does come across as a victim but becomes a villain by the end. As the film tries to showcase what has led him to this path. His own mind of mental breakdown is tied to religion, lust, and folklore.
This film definitely shows how misogynistic and exploitive those so-called true believers are when it comes to women and especially if they show any sexuality or seem to enjoy sex
Directed By: Stelvio Massi Story By: Fulvio Gicca-Palli Written By: Stelvio Massi, Franz Antel & Gino Capone Cinematography: Riccardo Pallottini Editor: Mauro Bonanni
Cast: Joan Collins, Maurizio Merli, Franco Ressel, Werner Pochath, Massimo Vanni, Annarita Grapputo, Alexander Trojan, Gastone Moschin
An Italian private investigator tries to get to the bottom of a suspicious kidnapping case with the help of an exotic dancer.
This is a movie that leaves one with mixed emotions. At first, it feels like pure 1980s European sleaze and stupidity dialed up. To make what seems like a movie the filmmakers believe Americans will love. Though eventually the film actually becomes somewhat engaging.
Can’t really tell if it is natural or because the audience gets into the film’s nature and anything subdued is welcome and if it isn’t outrageous seems more possible than what we have seen before.
The beginning credits show us what to expect throughout, but feel more like credits for a television show of what to expect in future episodes. After a silly violent opening, it ends up being an early highlight reel to try and convince you to stay.
This is truly a film that has to be seen to be believed. One of the aspects of the film that helped sell the film is that Joan Collins is in it and gets star billing. Even though she doesn’t appear until halfway into the film with a grand entrance and shows plenty of skin throughout. Even though she is a supporting character of importance she comes across as a special guest star who is eye candy and the femme fatale. She is the most recognizable cast ever to an English language-speaking audience.
The film is definitely of its Time when it comes to Materials and culture. It has a protagonist who always seems to have a one-liner or comeback ready for every occasion. In one scene after getting beat up seems to look around for direction as to whether to at least lose consciousness in the scene.
So that at first it feels more comedic than a thriller or action film. Even with an opening scene of pure action. The film also is filled with nudity and comes across at times as sex-obsessed. Not sure if it was intentional or not. Even though it is a detective mystery at heart.
The film eventually develops into competence as it goes along and we analyze the story. When it decides to calm down from its More outrageous factors. That ends up saving the movie. As it becomes engaging and less over the top.
It seems that most of the female characters can’t resist the lead who comes across with a perineal that Bruce Willis would perfect in the 1980s
Though it gets tawdry, especially in the conclusion that involves underage girls leaves this and the audience with a bad taste in your mouth and wondering why this was needed. As it makes the film obscene. This might be why this film isn’t as known or famous. As it is quite distasteful
Can definitely see this as a cult or midnight movie and gaining an audience. By the end, it feels like the first in a series of movies or franchises that are never to be.
Based on the book “Dance On My Grave” By Aidan Chambers
Cinematography: Hichame Alouie
Editor: Laurie Gardette
Cast: Felix Lefebvre, Benjamin Voisin, Philippine Velge, Valeria Bruni Tedeschi, Melvil Poupaud, Isabelle Nanty
When 16-year-old Alexis is caught up in the deceitful Normandy sea, David heroically saves him from drowning. And, this is how Alexis meets the person of his life. But, how long will this tumultuous, dreamy relationship last? Will the dream last for more than one summer, the summer of 85?
The film doesn’t go where you expect it to go. What keeps you guessing and mystified when it comes to his film is how it plays with time throughout and leaves you expecting the worse when things are mostly innocent
It feels a bit similar to CALL BE BY YOUR NAME. As it is a coming-of-age love story between two males of intense feelings and obsession, but yet always feels a bit more of a thriller than a true romance. Though then again young love can be innocent and messy.
Even though nonchalant It’s not even truly coming out film. As it is all relatively handled with no big revelations. Though shows itself as a love story and not one of lust or dangerous obsession
The film runs on expectations. So that as it goes along. You constantly feel a sense of dread. Always looking for clues, hints, or motives.
All seems to go well until a girl is thrown into the mix. Even when she had the best of interests. Proving to be loyal to all.
The main characters are the rebellious carefree type versus an introverted romantic. At first, he believes it is all in his head and just an innocent friendship. Then he realizes he is being seduced. Even though the more aggressive character might be bisexual or a sensationalist, narcissistic and not prepared for his feelings. Especially being so young, not ready for the intensity.
By the end, you find instead of a thriller you have gone through a dark drama. That also feels like a string after-school special or a coming-of-age film that has thriller elements.
Jeanne, a shy young woman, works in an amusement park. Fascinated with carousels, she still lives at home with her mother. That’s when Jeanne meets Jumbo, the park’s new flagship attraction.
This film will remind some audiences in the know of Titane. As they have particular storylines that are similar but are in Totally different ways.
The French film, TITANE is dark and about more than necessarily meets the eye. Where it has things to say about many subjects. This film Is sweeter and has no pregnancies though it is a fairy tale based On reality and tries to keep matters at hand.
This film has a sweetness but doesn’t ignore its own implausibility. As it even has the character question her sanity. Though her own faith shows through. We in The audience begin to question as we see erratic behavior and every time there is something fantastical involving others we never see it as random there is a logical reason for it all.
The film doesn’t shy away from sex but it doesn’t make it feel tawdry it feels erotic but more out of innocence.
Even those close to her who doubt her and her sanity. We are left to wonder if they are doing it for their own self-interest and out of jealousy.
As the main character feels like a typical one you would find in a quirky romantic French film. She looks and dresses like a shy teenager even though she is a young woman in her 20’s.
The movie starts off innocent and as it goes along it gets more serious and into more issues and questions that are surprisingly asked. That is usually left out in films with scenarios such as these.
Noemie Merlant really shines in this film. She stays believable and strong even though her character can be weak at times and doesn’t speak up for herself. She seems to run away rather than confront. Though she gains our sympathy and soon finds ourselves rooting for her. As we watch from the beginning her character is a tomboy but wears such shapeless clothes we wonder if she is in arrested development. through it all even in various sex scenes. She still seems like an innocent more than anything.
Emmanuelle Bercot as her mother is also strong. As a hard-driven woman. She has had her heart broken quite a few times and wants to believe in love but finds herself defined by the company she keeps usually male. She wants the best for her daughter but that seems in the daughter more or less getting into a relationship and finding a man. As she tries to act more like her sister than her mother. She is tough to a certain degree but has a soft spot for her daughter that she rarely shows.
This is a film that might not always make sense but it does have a charm that is constantly on display and tries to always stay in reality. Even with its more fantastical elements.
Written & Directed By: Christian Petzold Cinematography: Hans Fromm Editor: Bettina Bohler
Cast: Paula Beer, Franz Rogowski, Maryam Zaree, Jacob Matschenz, Anne Ratte-Polle, Gloria Andres De Oliveira
Undine works as a historian lecturing on Berlin’s urban development. But when the man she loves leaves her, the ancient myth catches up with her. Undine has to kill the man who betrays her and return to the water.
Writer/Director Christian Pertzold, Always seems to bring nostalgia and powerful epic love stories into the modern age.
The film feels like a short story compared to his other films that felt like full novels even if the same length. This just doesn’t feel as strong or as Rich. Making it feel somewhat lightweight, not as daring or demanding. Which can be forgiven. As not every movie needs to be a fraught tragedy.
As this like most of his films is expressive, vivid, and powerful. Usually unforgettable with a romance that you might aspire to have and dream of despite their tragedy. To love is to gamble and lose big at times. Even when getting what you want it hurts to a certain degree and you lose or have to sacrifice a bit to be affected in the end.
Amazed by what you went through and proud of it. As an expression of passion in all ways. Your own epic story that is universal. Only you can truly understand. As you have your own point of view and are telling this particular tale as a memoir. That is what went through my brain while watching this film.
This film feels like a more modern fairy tale, but the emotions are deep. As it is detailed and textured as one without the lore though. The tragedy is that the tale feels like it ends too soon. Never knowing what you have until over and the characters obsessing over it. Raising it to a level of legend.
Think about how you feel when you break up with someone and feel you will never get over them. Then you meet someone new and realize how bad the other relationship really was. As you never reached the same happiness or highs as is the new one
This film Feels too short. Yet it doesn’t disappoint as it has the same strength and emotions affecting two lives immeasurably but seems to have the substance of a shorter story. That here gets by more on emotions. A brief romance that packs a full love story rather than one that takes place over a longer time period.
That has an intensity where you wonder if given more time together. Would it have flamed out? Had more stories to tell that reinforced and made this love story as rich as Uncle Scrooge’s vault from DUCKTALES or with time made to realize it was a footnote and more a blueprint for future relationships to revolve around and know what you want and how you want to feel.
It Seems after romantic epics such as PHOENIX and COLD WAR. That Writer-Director Christian Petzold has set his sights on a smaller story that while not having as much of an expanse. its depths are just as strong
Directed By: Takashi Miike Written By: Masa Nakamura Cinematography: Nobuyasu Kita Editor: Akira Kamiya
Cast: Masataka Kubota, Sakurako Konishi, Shota Sometani, Jun Murakami, Masayuki Deai, Cheng-Kuo Yen
Leo is a young boxer, successful but unable to show emotion. He has a fight scheduled and is sure that he will win. Instead, his opponent knocks him out. This triggers a chain of unpleasant events involving drugs, corrupt cops, the Yakuza, a female assassin – and Monica, an escort that he must rescue. It’s one hell of a night for Leo.
The film is brutal in its Violence at times but what else would you expect from director Takashi Miike. Though it similarly stays silly and fun. It also keeps an emotional connection.
This is a film that will feel immediately familiar but tries to be different in the details. As this isn’t lovers on the run but two characters with nothing to lose on the run. Who seem to fall for one another while on the run and trying to survive.
Throughout the film, you will be able to identify what inspired the movie, characters, and scenes.
The male is More motivated and driven as the only reason he goes out of his way for her. Is that he believes he is dying.
For the female character, the boxer is The first instance or ideal of the perfect person who did something above and beyond then for them and not fully realizing or taking time to see who the person truly is.
Some people experience this. When they experience it fully with knowing a person. All around can be rewarding rather than just connecting for a moment.
Though strangely the couple is the least interesting part of the characters. As they are pawns In a larger story but needed to advance the story. Is more of a crime Story involving two different mobs who end up in a war over a stolen shipment set up by a dirty cop and inserting
Each monster fang either tries to double-cross or is out for vengeance. Though each of them, also seems to have its ridiculous quirks.
The film offers some well-contained action sequences and constantly involves misunderstandings and double-crosses that leave you wondering who is out for who half the time.
The problem here is that as the tale goes on it builds momentum and smartly to a degree doesn’t keep building and putting out its Scenes slightly distanced. So it gives characters time to breathe before the next crazy scene instead of overloading and best one after another.
The drug deal subplot and mobsters do remind the viewer of the movie TRUE ROMANCE. But other than the simpler coincidences this tale goes its own way. As this film has a bit more humor.
Though the main characters are interesting in their reasoning and characters. Including one a drug addict who is beloved, she is haunted by her father who is always in his underwear. It’s the supporting characters who
Are more interesting and keeps the film interesting and on its toes.
Directed By: Ivo Van Aart Written By: Daan Windhorst Cinematography: Martijn Cousijn Editor: Irme Reutelingsperger & Yamal Stitiou
Cast: Katja Herbers, Achraf Koutet, Genio De Groot, Rein Hoffman, Claire Porro, Bram Van Der Kelen, Medina Schuurman, Harry Van Ritjthourn
A columnist must continuously deal with threats and negative comments on her social media pages. One day, she has had enough and decides to hunt down her trolls.
The film wastes no time in getting right to the point and its actions. The film ends up going down like candy-sweet and quickly with very few complaints.
The film comes off very dry and seems to have no real sensations at all throughout the film. Especially when it comes to presentation.
Feels very lightweight for such a dark comedy. Almost like a TV movie level. Only with plenty of language and violence.
It might have been stronger if at any point she really has faced a true challenge or more of one in her killings or the immediate aftermath.
The only other being she seems to face is the older gentleman who at first seems like he could be the easiest.
As she became too common too fast and with very little investigation into these Crimes. So there feels like an absence of any real depth. Especially when the film offers opportunities for it to be more interesting. Like having the daughter act impulsively when thinking her mother’s boyfriend is the killer or having her kill him when believing him to be the killer. Then found out she was wrong when the kills keep happening and then finding out it was her mother or ending the film with the daughter’s Mistake.
In the middle of the movie is the only town where the police really have any questions and she gives them motive and a bit of evidence to build a case if they bothered to really investigate her.
The killings soon become an obsession. So much so that it takes over her regular responsibilities. Truly shows her character’s transformation. The more she kills the more it relieves her mind as it clears her head and gets more writing done. In essence, becoming more successful.
As it seems she is all for freedom of speech until it is used against her then she becomes the ultimate censor. At first, she is bullied into being a killer.
Though without controversy there is less of an audience. The end is a little outlandish as it seems meant to be a message. As the film does have one in a worst-case scenario version. That could be reworked but makes itself loud and clear.
At first, it seems Like it will be open-ended but proceeds especially as there are plenty of witnesses though goes for shock and sensationalism with a warning.
Her speech might help her and the film to realize what she says about herself goes to the victims also.
Just her boyfriend who dresses freaky to get attention as fashion is the more normal put-together individual. Whereas she comes off as the more so-called normal one is the crazed killer.
In the end, the film feels disposable and hassle-free.
Written & Directed By: Katrin Gebbe Cinematography: Moritz Schultbieb Editor: Heike Gnida
Cast: Julius Feldmeier, Sascha Alexander Gersak, Annika Kuhl, Gro Swantje Kohljof, Daniel Michael
The young Tore seeks in Hamburg a new life among the religious group called The Jesus Freaks. When he by accident meets a family and helps them to repair their car, he believes that a heavenly wonder has helped him. He starts a friendship with the father of the family, Benno. Soon he moves in with them at their garden plot, not knowing what cruelty is there to come. True to his religious belief he stays with them although the increasing violence by Benno is torturing him. Tore is fighting the torment with his own weapons. So a dangerous struggle between libidinous actions and altruism begins. Inspired by true events.
This is a film that took me by surprise. I only heard about it recently.
This is a horror tale that sneaks up on you in the worst way, in plain sight. As it seems like a drama at first. As it isn’t a horror film Filled with slashers or any supernatural evil.
It all boils down to being a movie about faith about a character who has an unwavering faith and no matter how bad things get beloved he is being tested for a higher purpose. He encounters a man who is a sociopath and just so filled with hate and evil that he makes it his mission to try and get him to stop believing and take out His anger on him whenever frustrated.
Even if he hadn’t encountered this teenager the sociopath would bring those around him down and finding these victims might have saved others from his terror.
The Second half of this movie is brutal and upsetting. So that once the film is over you feel dirty or somehow stained from the experience.
The teenage character believes he has to accept these punishments. To save others. So they are safe but by witnessing it hopefully, they will finally be brave and strong enough to run away. As the family seems to stay with him out of survivor’s syndrome. Some prove to be just as evil as accomplices who just need a bit of a push or to be led into that behavior. The teen sees the main character as a challenge eventually instead of being afraid and realizing how disturbed this guy is.
It also doesn’t help that the sociopath is obviously jealous of the teen in a few ways. Especially when it comes to his teenage daughter.
He sells to prove him wrong. As the teen stays true to his faith and religious convictions that ultimately he seems he can never defeat. Even as he seems hell-bent on trying to punish him for his beliefs. Truly showing strength of conviction. Leading the movie to some dark and disturbing places.
What is upsetting about this film is that it is supposedly based on a true story and also it’s a. Martyr tale that is upsetting as there is no comeuppance. So no sense of justice and no emotional or tension release.
What is scary is the terror through the movie is so matter of fact. That sets the tone. As there is nothing necessarily heightened. It is all in plain sight. Little by little, we can tell something isn’t right. It stays believable
The wife tries to say that nothing has been right since the teen got there. Though things seemed already a bit off. The addition of him only adds an adversary for him to lord over and make a slave maybe just for his faith or showing him up in a brief random meeting in the begging getting his car to work.
Though at times the cruelty comes out of nowhere like selling him off, if only for extra income. It infuriates the audience when he has a chance to escape but see’s all of this as his mission.
It’s filmed more like a docudrama, though it can feel like torture porn. To get there seems to be a point to it all.
The acting is spot on and believable. No performance rings false.
There is some hope at the end but only born out of tragedy. As all around are made into an accessory. Very disturbing. This plays like a Michael Haneke Film that tries to mix with a Lars von Trier movie, but those films can come off as natural. This seems cruel to be cruel. Sadistic and just when you think there will be somebody to save him or some hope. It shows how cruel that world and environment are.
Fabietto Schisa is a boy in the tumultuous Naples of the 1980s. The Hand of God is a story full of unexpected joys, such as the arrival of football legend Diego Maradona, and an equally unexpected tragedy. Fate plays its part, joy and tragedy intertwine, and Fabietto’s future is set in motion.
This film is oddly restrained considering it is directed by Paolo Sorrentino. Whose films always lean on beautiful visuals, characters, and landscapes and usually showcase a surreal reality as well as feeling more epic in scope.
This film is autobiographical so that it feels more personal and with more depth. Not so much an ensemble but we do see the world of Neapolitan Italy through the eyes of our teenage protagonist. Though we spend a lot of time with his family and the characters he comes across. Who each affects and shape his life in some way
Some are more obvious and immediate, others we get glimpses of and then learn about them later but never quite forget them. As each has some kind of advice for the main character.
All of this is happening while in the background soccer player Maradona is bright onto Italy’s Team and is helping them win the World Cup. So Much so that the main characters’ activities are scheduled around seeing the games.
As he interacts with his family we see plenty of domestic drama. Though throughout there is a love story but it is more between the protagonist and his aunt. Who has a mental illness or is treated like she has and wears provocative clothing and has no problem being naked whenever. Not exactly your typical movie romance.
Though she is shown more as as a muse for him of free-thinking, humor, sex, and beauty and Luisa Ranieri playing aunt Patrica fills out the role beautifully. As the camera manages to make her look gorgeous no matter what the angle or lighting. Throughout the movie, there are female characters of great beauty who are treated as normal or every day.
The movie also managed to be one of the few films about filmmaking or future filmmakers that basically barely has any movies or talk of them in it. There is no film appreciation, though there is talk of Fellini, a filmmaker who Sorrentino can remind one of in telling personal stories in a grand way that always feels colorful.
This film doesn’t really follow a traditional plot or story and is more a collection of anecdotes and events that shape the character and give a vivid history and view of his hometown in the 1980s. Not as quirky as one might expect as there is nothing that truly stands out.
Though by the end you are glad you watched and experienced the film that plays and feels more like a book by the end. Only here not everything is spelled out. It is more experienced, witnessed, and felt.
This is also a film best viewed in a theater or on the biggest screen you can find.
Written & Directed By: Pedro Almodovar Cinematography: Javier Aguirresarobe Editor: Jose Salcedo
Cast: Javier Camara, David Grandinetti, Leonor Watling, Rosario Flores, Mariola Fuentes, Geraldine Chaplin
After a chance encounter at a theater, two men, Benigno and Marco, meet at a private clinic where Benigno works. Lydia, Marco’s girlfriend and a bullfighter by profession, has been gored and is in a coma. It so happens that Benigno is looking after another woman in a coma, Alicia, a young ballet student. The lives of the four characters will flow in all directions, past, present and future, dragging all of them towards an unsuspected destiny.
When it comes to Director Pedro Almodovar, With certain films his attention to detail is mesmerizing by even just the appreciation to women their style dress mannerisms and femininity is fascinating and he pulls us in
Especially for a filmmaker who has always been artistic but also an early provocateur looking more to shock it seems Maybe now, we Just pay more attention to every aspect of his filmmaking. Such as Melodrama, sense of color and suspense
As he seems to base his later films around stories and the works of noted authors he is a fan of, trying to match the depth and tone of their work.
Which might be why this film feels like reading a book. Introductions are made for our main characters but we really don’t know their situations, emotions, motivations or history until the film. Keeps moving and chooses to make the revelations of the twisted stories and personal histories.
As things aren’t always as they seem. It feels like watching Two love stories that are parallel, but then come together. Though it could also be seen by the end. As before , that leads to the worthwhile love story of two damaged people brought together.
As one character stays a victim throughout. As she is more an object of fascination and infatuation. A kind of ideal, who is violated without her knowledge or permission. Then in the end. Looks to get into a romance with someone involved with her attacker of sorts.
It’s a film that challenges you. As the audience might not like or agree with the ending. As one romance is cut short though has time to blossom, yet find out it was ending. The other romance never truly existed. As it had a promising start until extreme acts ended it before it could truly start.
As the character of Benigno could be seen as hopeless romantic, but is more a stalker. Who gets his chance to be near his obsession. Ultimately being devoted to her care and taking care of her, but also getting to be physically intimate with her. Which he never treats as sexual or abused in that way at first. In fact he seems asexual sexually as though he loves her. He seems attracted and flirtatious with Marco in their friendship.
It would seem he lives up to the ultimate title of caregiver. He also seems to idolize women as when he first falls for Alicia, it is while he is taking care of his own dying mom and it seems once she is gone. Out of loneliness his care and loving feelings are transferred to Alicia. just as he is devoted to her in the hospital, but opens up and shows feelings for Alicia even as his co-worker obviously likes him but he stays blind to it.
In fact until he is inspired by a silent movie (in a shocking and visually stunning scene) he never gets sexual. The one time he does in a selfish and undefendable act, is when he is finally punished. Throughout the movie we never really see sex, but it is introduced and we are thrown in The emotional pull of it.
Where it gets more troubled is that this act actually brings upon a kind of miracle… a cure. Where he suffers and deserves to for her recovery and it feels like a minor religious allegory of it all. It also causes a salvation for his friend Marco
Throughout the film there are artistic touches that only add color to the characters and situations. In the end what should be simple is so haywire emotionally, but has beautiful conclusions. Albeit dark and in moments that feel sumptuous.
Even in the bullfighting sequences more the alpha but most emotional of the couple. She always feels more in control. As physically stronger and masculine yet always needing to be saved and supported in life.
It feels like we are watching lives with a bit of serendipity, not a movie or a story. Yet we are still showcased the more interesting parts
Oddly this film is exactly what I thought it would be but still amazing. As it unfolds like a novel and feels nurturing and strangely full. Even though at heart it is disturbing if you think deep about it. it is also romantic
Cut To The Chase 