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En nu naar bed

Television recording of the Dutch musical by Annie M.G. Schmidt (lyrics) and Harry Bannink (music) from 1971. Two fairies guide the life of young Frans. The good fairy wishes him that he will become a decent man, with a good job and an exemplary family. The evil fairy wishes him bad luck. Her goal is to make the boy as unhappy as possible. Both bring twists and turns in the boy's life. They accompany his life in different guises, as a teacher, as a cashier, as a customer in a shop, as a psychiatrist, as aunts at a reception. Their fight continues until morals begin to scramble. Because what is actually still good and what is really bad?

En nu naar bed

NR 1973
Tahia Ya Didou !

Originally commissioned by the city of Algiers to promote tourism, Mohamed Zinet’s Tahia ya Didou blends documentary with fiction to create a poetic, acerbic and rapturous portrait of the director’s native city. The camera travels freely, through the port, market, streets and cafés, capturing everyday people, some of whom recur frequently enough to seem like protagonists. The nominal plotline follows a French tourist couple’s leisurely visit to the city, the man having previously served in the army during the Algerian war. As they walk around, his comments betray his mindset’s racist colonial prejudices, while his wife reiterates asinine clichés. Their unhurried wandering is interrupted when he comes across a blind man and realises that he tortured him during his army service. The film is punctuated with punchy sequences that show a poet named Momo delivering verse as an elegy for Algiers.

Tahia Ya Didou !

8.0 1971
Punk Can Take It

Julien Temple's wartime documentary parody "Punk Can Take It" (1979) - a theatrically released promo for the UK Subs, complete with narration by BBC voice-over veteran John Snagge - paints a glorious picture of England in a punk rock "identity crisis". Punk morale was higher than ever before. Punks were fused together not by fear, but by a surging spirit of revenge, immortality, and the courage never to submit or yield. This proved that punk won't go away and that punks themselves are becoming younger and nastier everyday. They have no time for the precarious thrills of nostalgia nor for its trivial rules.

Punk Can Take It

6.0 1979
Ayşegül

A little baby girl is left at the door of a mansion, and the kind-hearted servant and grumpy old owner of the mansion take her in. Her mom is dying to see her kid, but she can't even see her face. For her brother had deceived her by claiming that the baby had been stillborn, as he did not want his sister's illegitimate child in the house. The mansion's inhabitants, who raised the little girl named Ayşegül, created a world filled with love for her. Ayşegül tries to ease the longing for her mother she has felt for years by loving a famous singer, unaware that she is truly her mother...

Ayşegül

7.0 1971
Girl And Soldier

A young boxer and his girlfriend seem to be bored with the monotony of their dates, walks, and life. So he invents a girl with a romantic suitcase, with whom he supposedly fell in love, and she invents an equally romantic soldier, whom she supposedly likes. At the end of the film, when the lovers meet at the train station, they seem to have been transformed by the cross-pollination of dreams—he is a soldier, and she is leaving for somewhere, and, naturally, when she appears on the platform, she turns out to be the girl from his dreams with a suitcase in her hand.

Girl And Soldier

6.5 1970
I Don't Know Much, But I'll Say Everything

Pierre Gastié-Leroy is the son of a wealthy director of a factory of weapon manufacturing. Despite his parents, two generous uncles and a bishop godfather who try to inculcate him the rigid values of his social level, Pierre is a dreamer, antimilitaristic, social educator who dreams of saving three thugs, his "little guys" at the limit of delinquency. After several resounding failures that sent him to prison, Pierre is ordered by his father to join his factory to direct the social service. Tired of the venality of his father and the foolishness of the "little guys", Pierre hires them at the factory...

I Don't Know Much, But I'll Say Everything

5.3 1973