Discover Movies

55,917 Matches Found

International Stewardess: Erotic Flight

Many are the romantic stories of beautiful stewardesses who have dreamed and became modern Cinderellas. Yumi, though, has no such dreams. She loves Shimada, a very ordinary young man and hopes to marry him one day. However, during the flight to Tokyo, the Petroleum Minister of a certain country sets eyes on Yumi, the loveliest girl ever hired by JAL, and is more than pleased with what he sees. When Yumi is approached, she declines instantly but everyone seems to gang up to bend her will to theirs and soon the newspapers report that Yumi has accepted the Petroleum Minister's proposal.

International Stewardess: Erotic Flight

4.7 1976
Ang. Lone

'Ang.: Lone' is a sort of social realist 'rebellious teen movie'. It tells the story of a troubled, emotionally confused, and defiant 16-year-old girl called Lone. Lone runs away from a girls' home in Jutland and travels to the home of her foster parents. Her visit quickly gives rise to a conflict so she travels onward to Copenhagen. In Copenhagen she enters into lower and middle class milieus and the hippiesque underground, but she runs away from each of these because she manages to start conflicts with most people by acting aggressively aggrieved. Lone finds a boyfriend and becomes pregnant during the couple of months she spends in Copenhagen before she is found and placed in a mothers' home which she eventually runs away from in order to have an illegal abortion.

Ang. Lone

5.3 1970
Angle

"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked bodies or parts of bodies, is a film of rupture. Punctuations of black primers break up the filmic continuity, isolating snapshots or brief furtive movements: the body rolling over itself, colliding with the other or falling (these terrible falls, as sharp as a fainting spell, like that of the hero of The Andalusian Dog, whose hand, as he falls, brushes for a moment against the naked back of a beautiful, insensitive woman, and which is, it seems to me, the most striking representation of the link between passion in love and death that can be given). Often these movements are repeated and the actors seem to be the descendants of Muybridge's bonshommes lost in a white room. At the end - this is the longest shot in the film - in a corner of the room, one of the two actors remains crouched, hiding his eyes in his hands. Then the corner reappears, empty."

Angle

1.0 1978
Arruza

Eight years in the making, Boetticher’s portrait of his longtime friend, the famous bullfighter Carlos Arruza, was a labor of love that the renowned director of westerns pursued despite contending with illnesses, bankruptcy, jail time, and lucrative offers from Hollywood. The result is an astonishing work of poetry, immediacy, and violence that fearlessly wrestles with the filmmaker’s own ambivalence about the titular matador’s triumphs prior to his death by automobile accident at the age of 46.

Arruza

6.8 1972
The National Health

Peter Nichols adapted his own hit play to the screen, based on his experiences in hospitals. A riotous black comedy that's as timely today as ever, it contrasts the appalling conditions in a overcrowded London hospital with a soap opera playing on the televisions there. In an ingenious touch, the same actors appear in the "real" story as well as the "TV" one, thus blurring the distinctions even further. Jack Gould directs such outstanding British actors as Lynn Redgrave, Colin Blakely, Eleanor Bron, Jim Dale, Donald Sinden, Mervyn Johns, and, in only his second film, Bob Hoskins. The renowned Carl Davis composed the score.

The National Health

7.0 1973
Dan-no-ura Night

Taken out of the pages of history itself, this is the story of the sizzling love between Kenreimon-in of the Taira Clan and Yoshitsuné of the Minamoto Clan. When the Taira Clan had met ignominious defeat at the hands of Yoshitsuné, Kenreimon-in had jumped into the sea with her son, the infant Emperor, but only she had been rescued by Yoshitsuné. A rough-hewn warrior, Yoshitsuné had taken her by force until he awakened an answering love in the Empress with his chamber techniques.

Dan-no-ura Night

4.3 1977
Around the World with Fanny Hill

In Stockholm, Fanny Hill is tired of being a housewife, and she suspects that her husband Roger, a TV-commercial director who's surrounded by starlets, is cheating on her. So, she sets a trap for him with her friend Monica, files for divorce, and heads to Hollywood, with Monica, to meet film stars. She falls into a film career, with lots of nude scenes, and as it takes her from L.A. to Hong Kong and Venice, Roger follows her, jealous, hoping to win her back. In every city, she acts and she seduces, making comedy out of both; but does her heart still belong to Roger? It's on to Munich to find out.

Around the World with Fanny Hill

4.0 1974
Bandits from Shantung

It starts off well enough with some nice build-up in a sprawling deserted farm town (a nice backlot on a Taiwan location) as various motley characters show up at the town's only open establishment, a tavern/inn, with some evil doings in mind. When advance men for the title bandits show up to lay the groundwork for a raid, they round up all available hostages but one. That one is the film's lone hero (Chang Yi), whose motivation is simply stated—he's there to check up on family—but no one believes him. At the thirty-minute mark, he launches into an eight-minute battle with the two bandit chieftains, hand-to-hand with one (Sammo Hung) and swordplay with the other (an actor I didn't recognize). It's a well-staged brawl and it spreads all over the empty town.

Bandits from Shantung

6.8 1972
The Blue Hotel

Nebraska in the 1880's: bleak, lonely, and far from what you'd expect The Wild West to be. But for a naive Swedish immigrant, the frontier parlor of THE BLUE HOTEL represents the quintessential western fantasy. No one can convince The Swede that his dime-store notions about The West are foolish. He sees murderous intentions all around him and in his terror he turns everybody against him. Inevitably, the Swede attracts tragedy. However, who is responsible? The negative Swede? Or the cliquish hotel guests? Jan Kadar directs this timely story of how society punishes outsiders for being different.

The Blue Hotel

5.3 1977