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La Croisée des chemins

The peregrinations of a group of boys and girls from Paris. Two girls swap the capital for the countryside near Montpellier. One of the girls hesitates between dream world and reality.La croisée des chemins marks the start of a significant oeuvre and is a film in which reality and dream are mixed. Jean-Claude Brisseau shot this film on Super8 in 1975. Screened in Studio 43 in Paris, the film was noticed and admired by Eric Rohmer, who attached the name of his production company Les Films du Losange to several films by Brisseau: Un jeu brutal, De bruit et de fureur en Noce blanche.

La Croisée des chemins

4.6 1976
Salome

This filmed version of Strauss' shocker features Teresa Stratas as opera's most depraved teenager, and she's as perfect a Salome as one would ever hope to see or hear. Stratas inhabits the role, exploring the character's sensuousness as she vainly woos Jochanaan, her venomous hatred when she's rejected, the crazed look in her eyes when she demands his head--on a silver platter, no less. Such complete identification with a role, especially of a character so malignant helps make this 1974 Salome stand out among the many fine DVDs of the opera.

Salome

6.5 1974
Mi profesora particular

Loris is a young man who begins a romance with Francisca, his piano teacher, a forty-year-old who lives dominated by her mother, who was a successful soprano in her youth. Loris goes to live at Francisca's house. They will have as neighbor a sexual obsessive, fan of carnivorous plants and spying on people with binoculars. When they are preparing a trip, Francisca's mother shows up at the house. Her initial indignation soon gives way to a great interest for the young man, which will provoke the terrible jealousy of Francisca.

Mi profesora particular

4.0 1973
Bloody Friday

Womanizing thug Klett is sprung from the courthouse by two accomplices, then sets about planning the big heist of a local bank, equipped with a cache of high-powered weapons he's acquired from an American army outpost. Together with his faithful protégé, who reluctantly on-boards his young girlfriend and her AWOL brother, the quartet bumble their way through the supposedly full-proof plan that aims to deliver them a cool million in cash and a new life in Australia. Predictably, things deteriorate quickly at every turn.

Bloody Friday

5.7 1972
No One Will Notice You're Naked

Rosario Trapanese is determined to show he is not the typical old-fashion Sicilian. When his firm sends him to Denmark, a more sexual liberated nation than Italy, he immediately adopts the Danish "free-sexual-taboo" way of life. He meets and married Karen and succeeded to come back in Italy. Once here, he discovers Karen did a porn movie and his determination on being open minded is over. The typical Sicilian jealousy drives him crazy. Anyway, after a while, Rosario understands that what his wife did before to meet him it has not to be an issue for him. Karen confesses Rosario she signed a contract for a second movie and she could refuse only by paying a fine. The couple doesn't have enough money so they need to find a solution. And what a solution!

No One Will Notice You're Naked

4.9 1971
Do Right and Fear No One

A portrait of a woman’s life between 1915 and 1975. In Jutta Brückner’s documentary, her mother looks back at the 60 years of her life, talking about her father’s early accidental death, the constraints faced by a lower middle-class family of five, her training as a seamstress, marriage to a bookkeeper committed to social democratic ideals, the privations of war, and not least of all, her later realisation that fear may have caused her to miss opportunities … An ingenious collage of picture and sound accompanies the mother’s narrative, a tapestry of proverbs, pop songs, marching music, and the noise of war. Hundreds of photographs – most selected from August Sander’s (1876–1964) project “People of the 20th Century”, alongside newer photos by Abisag Tüllmann, among others – lend the individual vita of the director’s mother a kind of ontological validity. Images of labourers and office workers, excursions and marches, imbue what we hear with references that transcend the personal.

Do Right and Fear No One

6.3 1975
Herr Puntila und sein Knecht Matti

The play tells the story of the chronic drunkard and landowner Puntila. When he is drunk, he is virtually free of himself; he develops immense strength in these phases and can really be a human being. Then he wants to fraternize with his chauffeur Matti, wants to give him a forest and a sawmill, and even wants to give him his daughter as his wife. Puntila could accomplish many, many more good deeds in his frenzy, but when he returns to a sober state, Puntila reveals himself to be the "black sheep" of his capitalist class and an insignificant person. His classmate reads him the riot act and shows him the limits of this species, which Puntila can never break. GDR television showed the play in a production by the Berliner Ensemble.

Herr Puntila und sein Knecht Matti

NR 1979