Nathalie (Isabelle Huppert) teaches philosophy at a high school in Paris and divides her remaining time between her family, former students and her eccentric mother. But when her husband announces he is leaving her for another woman she finds a newfound freedom suddenly thrust upon her that is simultaneously liberating and disconcerting. Featuring a remarkable performance from Huppert, 'Things to Come' is an intelligent, poetic and naturalistic exploration of one woman's pursuit of contentment in the face of adversity.
Sister Clodagh (Deborah Kerr) leads a group of Anglican nuns to a remote Himalayan range of mountains, there to set up a mission in an abandoned harem. This is her first position of authority and she finds both her physical and her spiritual limits being taxed as she has to maintain order and discipline in a claustrophobically hostile environment. Slowly but surely, however, the privations and hardship they must endure, the extremes of climate and the peculiar amorality of the local natives all combine to slowly corrupt the women's faith, pushing them further into jealousy, anger and madness...
Rainer Werner Fassbinder had been making feature films for three years - and already amassed a filmography that would satisfy most careers - when he decided to take on a bigger challenge. Teaming up with West German television channel WDR, he conceived of 'Eight Hours Don't Make a Day', a series that would extend to five feature-length episodes to be broadcast at monthly intervals. Centring on the Kriiger family, as well as their lovers, in-laws, friends and co-workers, the series takes a sometimes comic, sometimes dramatic look at domestic relationships and labour relationships, with particular focus on skilled worker Jochen (Gottfried John) and his new girlfriend, Marion (Hanna Schygulla). Reminiscent of working-class soap operas such as 'Coronation Street' and the family-based sitcoms of Carla Lane, 'Eight Hours Don't Make a Day' has been one of the more difficult to find entries of Fassbinder's extraordinarily prolific output.
1976. A personal dispute results in two dead bodies in Amagasaki, a minor incident which explodes into a full-blown war between the Kawahara gang and the Yonemoto of Osaka. Sensing discord, much larger rival gangs throw their weight into the conflict in an effort to coalesce their own underworld power. When a top boss is killed as an example, his adopted son Shuichi Nozaki (Bunta Sugawara), an ordinary laborer, reluctantly joins the criminal world in order to avenge his benefactors death. Complicating matters are his younger sister Asami and her gangster husband (Chieko Matsubara and Koji Wada), who are affiliated with the gang responsible forthe killing, as well as Nozaki and Asami's own suspicious relationship. Even with his own family as a potential casualty, Nozaki charges forward on his violent quest for vengeance. Fukasaku's final film in the series once again tells an independent tale of the way poisonous underworld elements can infect even the most everyday lives.
Alan Ladd plays the titular gunslinger, the archetypal "man alone" who wanders into town and shortly afterward becomes embroiled in a conflict between a group of Wyoming homesteaders and the nefarious cattle baron who has designs to wrest away their land. As the conflict escalates, and a romance develops between Shane and homesteader Marian Starrett (Jean Arthur, in her last screen role), a who's-who of studio system character talent revolves through the production - Van Heflin, Jack Palance, Elisha Cook, Jr. - before one of cinema's most famous, unforgettable endings.
"Jawbone" is the story of a former youth boxing champion, fighting back after decades out of the ring. Jimmy McCabe (Johnny Harris) is a man in search of hope but looking in all the wrong places. When he hits rock bottom he turns to his childhood boxing club and the only family he has left: gym owner Bill (Ray Winstone), cornerman Eddie (Michael Smiley) and promoter Joe (Ian McShane). Back in training, years after anyone thought he was a contender, he will risk his life to stand tall and to regain his place in the world.
Toshio (Kanji Furutachi) lives above the small workshop that he owns with his wife, Akie (Mariko Tsutsui) and his daughter, Hotaru (Momone Shinokawa). When Toshio invites Yasaka (an eerily intense Tadanobu Asano) to come and live with his family, it does not appear to be out of friendship or goodwill. Akie and Hotaru are wary of the new lodger, but with his persistent charm and goodwill, Yasaka befriends Akie and begins teaching Hotaru to play the harmonium, and thus the family's fragile domestic bliss is forever altered.
Mitsuko (Reina Triendl) is the sole survivor of a bizarre paranormal incident that kills all of her classmates. Running for her life, Mitsuko seemingly slips into an alternate reality, but death and chaos seems to follow her everywhere. As Mitsuko finds herself in increasingly surreal and violent situations, the true horror behind her nightmare is revealed.
For a decade, Texas Ranger Lefty Enright (Dennis Hopper) has sought to avenge the brutal murder of his kin by the cannibalistic Sawyer family - Leatherface, Chop - Top, Cook and Grandpa. With the help of a radio DJ who's also bent on putting an end to the terror, Lefty finds his way to the Sawyers' underground butcher shop, where a battle of epic proportions soon rages...and the line between good and evil gets chopped to bits!
Italian celluloid icon Edwige Fenech is at her most beguiling as Jane, the housewife plagued by nightmarish visions of her own bloody murder! To cure her hellish fantasies her bewitching neighbour Mary (Marina Malfatti) initiates Jane into a Satanic coven, but there, the price for this brand of diabolical cure is murder - committed as a ritual sacrifice during an orgiastic black mass! Jane's chilling repulsive nightmares have become true. Who is the blue-eyed knife-wielding phantom stalking her and has she already witnessed her own death?
Denigrated by the public, vilified by the critics, re-cut at the insistence of its producers, and finally banned by the French government as 'demoralising' and unpatriotic, La Regle du jeu was a commercial disaster at the time of its original release. On the surface, a series of interlinked romantic intrigues taking place at a weekend shooting party in a country chateau, the film is in fact a study of the corruption and decay within French society on the eve of the outbreak of World War II.
'Pulp' found fame on the world stage in the 1990s with anthems including 'Common People', 'Disco 2000' and 'Babies'. In 2012 they returned to their hometown for what could be their last UK concert. Footage of their phenomenal live show is exclusive to this film and the band also share their thoughts on fame, love, mortality and car maintenance. Director Florian Habicht (Love Story) weaves together these elements with dream-like tableaux featuring the people and city of Sheffield.
Tora! Tora! Tora! is the Japanese signal to attack - and this movie meticulously recreates the attack on Pearl Harbor and the events leading up to it. Opening scenes contrast the American and Japanese positions. Japanese imperialists decide to stage the attack. Top U.S. brass ignore its possibility. Intercepted Japanese messages warn of it - but never reach F.D.R.'s desk. Radar warnings are disregarded. Even the entrapment of a Japanese submarine in Pearl Harbor before the attack goes unreported. Ultimately the Day of Infamy arrives - in the most spectacular, gut-wrenching cavalcade of action-packed footage ever. It's the most dazzling recreation of America's darkest day - and some of her finest hours.
Among the most highly praised titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang, was unavailable for years and much sought after. Set in the early 1960s, 'A Brighter Summer Day' is based on the true story of a crime that rocked Taiwan. A film of both sprawling scope and tender intimacy, this novelistic, patiently observed epic centers on the gradual but inexorable fall of a young teenager (Chang Chen, in his first role) from innocence to delinquency, and is set against a simmering backdrop of restless youth, rock and roll, and political turmoil.
When college nostalgia inspires a group of middle-aged businessmen to match-make for the widow - played with measured dignity by Setsuko Hara (Tokyo Story) - of one of their friends and her daughter, they have no idea of the strife their careless interference will cause. Late Autumn's examination of familial upheaval moves effortlessly from comedy to pathos and is amongst the finest of legendary director Yasujiro Ozu's post-war films.
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