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Beauty of Beauties

Hsi Shih: The Beauty of Beauties was one of the most ambitious films made in the Taiwan film industry in the 1960s. After leaving The Shaw Brothers studio in Hong Kong and moving to Taiwan, filmmaker Li Han-hsiang mounted this historical epic. Told through the story of Xishi (Hsi Shih), one of the 'Four Great Beauties' of Chinese history, the film portrays the war between two Chinese Kingdoms during the Warring States Period (475-221 B.C). After the kingdom of Yue is defeated by the kingdom of Wu, King Goujian of Yue takes pains to prepare for his revenge and rebuild his country. Knowing that King Fucha of Wu is lewd and lustful, he offers Xisi to the court of Wu to serve as Fucha’s concubine, with Fucha unaware that she is also a spy. She uses her charm to draw Fucha away from his office and governance, while King Goujian rallies his forces together to attempt to reclaim his lands.

Beauty of Beauties

7.0 1965
Голубой огонек - в первый час

In the first hour of the new year 1965, a holiday program with the participation of Pavel Rudakov and Sergei Lavrov, Larisa Mondrus, Tatiana Shmyga, Leonid Engibarov, Arkady Raikin, brothers Sazonov, Iosif Kobzon, Maya Kristalinskaya, Muslim Magomaev, vocal octet "Line" and pop orchestra conducted by Eddie Rosner, Yulia Pashkovskaya, Vladimir Shubarin, Eduard Khil, quartet "Accord" was broadcast. Among the guests are cosmonauts Gagarin, Belyaev and Leonov.

Голубой огонек - в первый час

5.0 1965
Mofturi 1900

Mofturi 1900 is a 1964 Romanian comedic film directed by Jean Georgescu and based on Ion Luca Caragiale's many Moments and Sketches. The sketches used are "Diplomatie" ("Diplomacy"), "Amicii" ("Pals"), "O lacuna" ("A gap"), "Bubico", "C.F.R." (abbreviation of "Romanian Railways") and "Din statiune" ("From resort"). The film stars Grigore Vasiliu Birlic, Iurie Darie and Ion Dichiseanu; and features Ioana Bulcă, Alexandru Giugaru, Mircea Crisan, Geo Barton and others. Set at the beginning of the 20th century, the story revolves around two Mitică characters sitting at a cafe telling stories to each other.

Mofturi 1900

9.3 1966
Aşk Bekliyor

Having lost his family, Cem (Eşref Kolçak) takes shelter with his mother's brother-in-law, Hurşit Bey. Hurşit Bey, who has two little daughters, accepts Cem as a child. Cem grows up with Canan (Muhterem Nur) and Müjde (Nebahat Çehre). Meanwhile, he falls in love with Canan. Hurşit Bey marries Süeda (Gülen Kıpçak), who is much younger than him. Time passes and Cem and Canan begin their marriage preparations. But the new lady of the house, Süeda, falls in love with Cem. She does everything she can to get Cem. Meanwhile, she takes her stepdaughters away from home. Not content with this, he traps Canan and causes her death. Müjde, on the other hand, is forced to marry Ekrem (Hayati Hamzaoğlu), whom she has no interest in. Cem goes abroad to escape all these events. After a while, he receives news from Müjde, who her husband cheated on...

Aşk Bekliyor

7.0 1962
The Parliamentarian Lady

Rena Varlamou (Rena Vlahopoulou), a female queen and a captain, takes up the election campaign of her fiancé Pericles Arapis (Stavros Xenides), a tavern who has founded a party and wants to become a member. He tries to land him in reality, but he does not, and when Pericles is not elected, he takes off. The reason is the sudden death of the uncle of Iakovos Menexes, a political career, who had re-elected a Member on their island. Menexes had included it on his ballot, as a runner-up, and Rena took his place, becoming the first female MP and struggling to make some important works in her place.

The Parliamentarian Lady

6.5 1966
Love Meetings

Pier Paolo Pasolini sets out to interview Italians about sex, apparently their least favorite thing to talk about in public: he asks children if they know where babies come from; asks old and young women if they support gender equality; asks both sexes if a woman's virginity still matters, what do they think of homosexuality, if divorce should be legal, or if they support the recent abolition of brothels. He interviews blue-collar workers, intellectuals, college students, rural farmers, the bourgeoisie, and every other kind of people, painting a vivid portrait of a rapidly-industrializing Italy, hanging between modernity and tradition — toward both of which Pasolini shows equal distrust.

Love Meetings

8.3 1965