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Switching to Daylight Saving Time

The story takes place in an institution called the "Experimental Base for New Management Techniques." Rumors of an impending staff reduction have stirred up the entire organization. Some are trying to use the situation to advance their careers, while others are still carrying out their duties without questioning the purpose of their "work." However, one employee, Savkin, openly challenges the routine and complacency, suggesting that the base should be dismantled and that everyone should find a job where they can truly contribute.

Switching to Daylight Saving Time

NR 1987
Holy Moly!

Yevgeny Yevstigneyev, Georgy Burkov, Leonid Yarmolnik, Galina Polskikh in a sad comedy by Sergey Nikonenko based on Vasily Shukshin’s short stories “Touches on the Portrait”, “The Stubborn One”, “The Strong Go Further”. Nikolai Knyazev works in a TV repair shop. God has blessed him with golden hands and heart, yet the majority of his fellow-town folk think he’s a bit nutty. And for a good reason: he’s constructing a perpetual motion machine, for years has been writing a philosophical treatise, dreaming of world fame and looking down on the other inhabitants of this sinful earth. But no matter how hard he is looking, he can’t see where his happiness (that is, post-office employee Lyuba) lies…

Holy Moly!

6.4 1988
Un père et passe

Camille (Penelop Schallenberg) is the only child of her unmarried journalist mother Marianne (Veronique Genest). She has never known who her father is, and her mother isn't telling. However, in her rush to get to an assignment in the Middle East, her mother left behind three letters addressed to three men Camille has never heard of. When she opens the letters, she discovers that they exhort each of the men to look after Camille, as they may be her father. Naturally, Camille looks them up, letters in hand. Just as naturally, they get to know one another, squabble over who is the real father, and conspire to break her out of the orphanage she is put into when the authorities find out her mother has become a political prisoner.

Un père et passe

10.0 1989
Dance of Death

An orphan boy seeks revenge upon a villainous kung-fu sect that killed his friends. He chances upon two old kung fu masters who are fighting to determine who's the better fighter; one is a drunk, the other puffs constantly on a pipe. Fei Fei convinces them to teach him kung fu, and then he'll fight using both of their techniques and will discover which is superior. So Fei Fei ends up fighting his way up the ranks of the evil sect with the two old men trailing after him, evaluating the battles and counting how many of their individual moves Fei Fei uses. The final battle with the white-haired master of the sect, using new kung fu moves inspired by dancers in a brothel, is amazingly gymnastic. --Bret Fetzer

Dance of Death

6.5 1980
Grand Father

Eak is a single old man, a womankind who loves flirting with any woman he sees and dresses according to the style of the woman he is going out with. Mod, his grand daughter from Laos comes to live with him. Because he wants to be alone all the time, he puts Mod in a kindergarten, but once he has a chance to meet Mod’s teacher, he begins to flirt with her by using Mod as a go between. One day he gets injured from helping the teacher’s father from a mugger, so she gets to know him better and has some feelings toward him.

Grand Father

7.0 1981
Banzaï

Michel works there manically solving people's problems over the phone. He is about to tie the knot with his girl friend Isabelle, an airline hostess. She flies all over the world, he hates to leave the office. A series of madcap mishaps involving theft or injury (as you would expect in his line of work) ensues after Michel promises Isabelle nothing will delay their marriage and she promises in turn that she's done flying. Once this unlikely promise is made, it becomes premise and both are forced into escalating white lies to maintain the appearance of keeping their word. Their predicament mounts as Isabelle is forced to do a few more flights, while Michel is compelled to travel to New York, Tunisia, and finally Hong Kong, where they are finally reunited in the throes of a contrived and hilarious drug deal involving a 747, water taxi chases, and martial arts.

Banzaï

6.2 1983
Malice in Wonderland

Struggling actress Hedda Hopper can't get a break in Hollywood, even though an acquaintence of hers is the extremely powerful gossip monger Louella Parsons - maker and breaker of careers (and lives) through her daily syndicated newspaper column. The big movie moguls, fed up with Parson's power over their stars, decide to de-claw her by setting up gossip Hopper as a competitor in the rumour industry. What they couldn't forsee was that Hopper would become as big as Parsons -- and every bit as much of a pain. Based on the true life stories of two of the most powerful (and arguably dangerous) women of Hollywood's hay-day.

Malice in Wonderland

7.6 1985
Final Act

FINAL ACT is based on Noel Coward's play "Waiting in the Wings". Even the smallest events turn into mind-blowing dramas at The Set, a retirement home for former actresses in England. Jealousy and madness flare into a firework display of toxicity when ex-primadonna Lotta Henderson (Birgitte Federspiel) moves in. A slap in the face of The Set's leading star in her own eyes, May Davenport (Mime Fønss), who has had a lifelong rivalry with Lotta both on stage and off. The daily dramas reach dizzying heights when a scandalous journalist (Anne Marie Helger) gains access like a wolf in sheep's clothing. A stunt that has a not-so-clever connection to the ladies' burning desire to be granted a veranda. The matter is raised to the highest level of the home's tough board of directors, and The Set's secretary Perry (Holger Juul Hansen) comes under justified suspicion of skulduggery. But this is where May Davenport's diva talent comes in as a sure trump card...

Final Act

5.5 1987