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Kona Coast

Sam Moran is a Honolulu charter-boat captain who leads fishing expeditions in the tropical paradise. When his daughter is found murdered at the party of a wealthy young playboy, he seeks the truth about the murder. Convinced the playboy is guilty, he enlists the help of his friend Kittibelle, who runs an alcohol abuse treatment center. Sam runs into a wall of silence obviously built by hush money and islanders fearful of reprisals from the rich and powerful family. The determined dad fights to uncover the information that will land the murderer in jail as he avenges the death of his daughter.

Kona Coast

3.3 1968
Annabelle Lee

Annabelle Lee was filmed starting in August 1968, concurrently with Diabolical Wedding, with technical and equipment support from Panamericana Televisión, which invested heavily in its attempt to promote its young stars, "Chacha" Hornazábal and Patricia Aspíllaga, who headed the cast of this adaptation of Edgar Allan Poe's poem. Panamericana Televisión lent its sets for interior shots, while exterior scenes were filmed at the Municipal Theater, the Entre Nous Society, Chancay Castle, and Quinta Heeren. The film's editing and laboratory processing were done in Mexico.

Annabelle Lee

NR 1968
The Hostage

When three year old Willy wanders away from home he falls among thieves. They are forced to kidnap him. The police ask Dickie, his elder brother and his friend, Johnny to help in the search. Johnny's friends all join in and meet with varied adventures. The children find Willy in a disused warehouse but cannot rescue him. Three more are caught by the gang who lock them in with the now unconscious gang leader and escape with the jewels. The police, alerted by the children, capture the gang, recover the jewels and finally rescue the children, including Willy

The Hostage

NR 1964
Gymnopédies

Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema

Gymnopédies

5.8 1965
Who Cares About Jamie?

This film explores the challenges of childhood development, emphasizing the importance of support from parents, teachers, and other adults in helping children navigate their growth. It illustrates the hurdles that Jamie, a typical boy, faces as he learns crucial life lessons, such as the consequences of stealing and the need for acceptance and understanding. The narrative highlights the role of adults in fostering resilience and emotional health, suggesting that collective care and guidance can prevent mental illness in children.

Who Cares About Jamie?

NR 1963
Ready for the People

In a barroom fight over Connie Zelenko, Eddie Dickinson is badly wounded and Connie's boyfriend is killed. Witnesses claim Dickinson is the killer, but he maintains his innocence despite public prosecutor Murray Brock's advice that he plead guilty and take a life-imprisonment sentence rather than risk capital punishment. When Connie comes out of hiding, she confirms the other witnesses' stories, but Brock believes Dickinson is innocent. Dickinson sticks to his story at his trial but receives the death sentence. In the death house, Dickinson continues to maintain his innocence, but after the execution of the sentence, Brock receives a letter from Dickinson confessing to the murder.

Ready for the People

8.0 1964
Return to Oz

Rather than adapt a later or create a new Oz story, this production has Dorothy still in posession of the shoes, and she clings to an apple tree during a tornado which takes her back to Oz. The Scarecrow, Tin Woodman, and Lion (using the names created for the nearly-abstract television series, Tales of the Wizard of Oz, from which this was derived) have had their MGM gifts destroyed by the restored Wicked Witch, and the four proceed to the Wizard for help, who is ineffectual as usual.

Return to Oz

2.0 1964
X (Batsu)

A man marks everything he encounters with an X, from telephone poles to fruit and books he fondles in markets to a woman he pursues who lies on the ground, first clothed, then unclothed. As he caresses her back. he puts X’s along her spine. Later, when he draws an X on a storefront. he is beaten and dragged off by businessmen. The allegorical batsu can be either consent or rejection, or the mark of individualism. putting an identifying (or accepting) mark on the world. A private 16mm neo-Dadaist film made by Shuntaro Tanikawa and Toru Takemitsu, who were passionately talking about movies, with a playful mind. Naozumi Yamamoto, who is also a composer and conductor, writes the "X" sign all the time. At first, the film was planned to compose in jazz, but in the end, the music was completed without being able to be included

X (Batsu)

NR 1960
Transparency

"The footage for Transparency was recorded at variable camera speeds (from approx. 5 fps to around 40 fps). In this process, when later projected at a constant speed of 24 fps, the image on screen changes in time from a representation of cars passing in front of the camera to an image in flux and a collision of transparent colors and dynamic motion. One might also think of it as a rendering and transformation of one industrial phenomena (the automobile), by another industrial phenomena (the motion picture camera). What arises – as an experience – when 'visual phenomena' starts, thrives, and ends within the 4 borders of the rectangle and we do not project extensions to them? How startling when occasionally, and just for a moment, a bird enters the frame, and creates 'space' against a light blue 'sky'." – Ernie Gehr

Transparency

NR 1969
Mission: Impossible - The Bunker

Dr. Erich Rojak, a brilliant scientist, is being held in an underground bunker containing a laboratory where he is forced to work on a small but extremely powerful long-range missile. If he succeeds, the missile has the potential to change the balance of power between the East and the West. Rojak is cooperating only because his totalitarian government is holding his wife, Anna, and threatens to kill her unless he completes the missile. The IMF's assignment is to rescue Rojak and his wife and to destroy his missile research. But another unfriendly government has sent professional killer Alexander Ventlos to make certain Rojak never completes his work.

Mission: Impossible - The Bunker

NR 1969
America's in Real Trouble

Tom Palazzolo's rapid-fire, seemingly spontaneous documentary style captures Chicago with pizazz. For more than ten years, Palazzolo has been delivering to us his captured visions – body builders, senior citizens, erotic parlours, weddings, deli owners, and the like – as if he had harnessed them in a cinematic butterfly net. AMERICA'S IN REAL TROUBLE is a patriotic film with music and sound by some of the great unknowns of the past. Lots of overtones, undercurrents, innuendoes, visual similes, counterpoints, puns and contrapuntal movement. Filmed in Chicago, it covers several years of parades and civic events. If you're not moved by this film there's no hope for you.

America's in Real Trouble

NR 1967