mcg's - Rented List

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From the creators of the award-winning film "Baraka", Ron Fricke and Mark Magidson, comes a new non-verbal masterpiece.

Filmed over a five-year period in 25 countries across five continents, "Samsara" transports us via stunning Panavision Super 70 cinematography to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders. By dispensing with dialogue and descriptive text, "Samsara" subverts our expectations of a traditional documentary. It encourages our own interpretations, inspired by breathtaking images that infuse the ancient with the modern and set against a mesmerizing musical score featuring the work of Lisa Gerrard, Michael Stearns and Marcello De Francisci.

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A festive day in Sainte-Severe: the fairground entertainers have arrived, accompanied by their caravans, a merry-go-round and even a travelling cinema, showing the awe-struck villagers a documentary on the modern methods of the American postal service.

With his old bicycle and single-minded resolve, Francois, the local postman (Jacques Tati) does his best to emulate his American colleagues.

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Stephane and Maxime run a renowned violin making and repair business. One day Maxime introduces his partner to Camille, the beautiful violinist he has being seeing. Camille is attracted to the enigmatic, introverted Stephane who it seems may share her feelings but is incapable of expressing emotion.

Convinced that she can find love beyond his cold exterior, her attraction turns to obsession and culminates in a shattering climax

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Through Joshua Oppenheimer's work filming perpetrators of the Indonesian genocide, a family of survivors discovers how their son was murdered and the identity of the men who killed him.

The youngest brother is determined to break the spell of silence and fear under which the survivors live, and so confronts the men responsible for his brother's murder - something unimaginable in a country where killers remain in power.

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Monsieur Hulot (Jacques Tati), the designer of an experimental camper van, takes it on the motorways of France and Belgium en route to the Amsterdam motor show where his prototype is to be exhibited.

But, with numerous breakdowns and mechanical problems, not to mention a customs search and an accident, the road to Amsterdam is long and perilous. Will Hulot and his camper van ever make it to the show?

Featurete is a surreal, comic vision of modern life in which the director's much-loved character, Monsieur Hulot - accompanied by a cast of tourists and well-heeled Parisians - turns unintentional anarchist when set loose in an unrecognisable Paris of steel skyscrapers, chrome-plated shopping malls and futuristic night spots.

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David Summer (Dustin Hoffman) is a quiet American mathematician who has moved with his wife Amy (Susan George) back to a remote Cornish farmhouse near the village where she grew up.

The couple have relocated to rural England in an attempt to flee the violence of America but their placid life is brutally interrupted when the savagery and violence they sought to escape engulfs them and threatens to destroy their lives.

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Mr and Mrs Arpel live in a remarkably modern house in a bland, clean neighbourhood. In this excessively controlled universe there is no room for play, chance or humour, and their son Gerard is bored.

However the calm is broken with the sudden eruption of his eccentric misfit uncle, Monsieur Hulot, Madame Arpel's brother. His family and entourage resent his whimsicality, especially as he becomes a role model for Gerard...

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Long before the 'gross-out' comedies 'Something About Mary", "Dumb And Dumber", "American Pie", etc Bruce Beresford's film of Barry Humphries and Nicholas Garland's Private Eye comic strip The Adventures Of Barry Mckenzie (the world's first gross-out comedy) shocked it's financier's the Australia

Government with it's portrayal of Australian's as drinking, shagging, vomiting, urinating vulgarians. The British press were equally horrified with the English portrayed as upper class perverts, poofters, lezza's swindlers and idiots. Barry McKenzie a loud-mouthed sex crazed innocent travels to London to get a cultural education. His Aunt Edna Everidge accompanies him to keep out of harms way. Barry's adventures take him from the Australian colony of Earl's Court to Rickmansworth and the strange perversions of England's upper classes, along the hippie trail meeting the thieves of the British music industry before landing him back in London this time among the sexual deviants of Notting Hill.

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Michel Simon plays Paul Braconnier, a man with designs on murdering his wife Blandine (Germaine Reuver) - a woman with similar designs on her husband.

When Braconnier visits Paris to consult with a lawyer about the perfect way of killing a spouse - that is, the way in which he can get away with it - an acid comedy unfolds that reaches its peak in a courtroom scene for the ages.

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Barbara Stanwyck sizzles, Henry Fonda bumbles, and Preston Sturges runs riot in one of the all-time great screwballs, a pitch-perfect blend of comic zing and swoonworthy romance.

Aboard a cruise liner sailing up the coast of South America, Stanwyck's conniving card sharp sets her sights on Fonda's nerdy snake researcher, who happens to be the heir to a brewery fortune. But when the con artist falls for her mark, her grift becomes a game of hearts - and she is determined to win it all. One in a string of matchless comedic marvels that Sturges wrote and directed as part of a dazzling 1940s run, this gender-flipped battle-of-wits farce is perhaps his most emotionally satisfying work, tempering its sparkling humor with a streak of tender poignancy supplied by the sensational Stanwyck at her peak.

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Maud (Carey Mulligan) is a working mother drawn into the fight for women's rights. She and her friends become foot soldiers in Mrs Pankhurst's early feminist movement.

Maud's demands for equality result in her being fired from her job, thrown out on the streets by her husband, and banned from seeing her son. But the Suffragette sisterhood rallies round to support her and together they continue their heart-breaking and inspirational fight to be heard.

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The 2014 Cannes Palme d'Or winner from Nuri Bilge Ceylan is set in the hilly landscape of Cappadocia in Central Anatolia. A former actor, Aydin (Haluk Bilginer), owns a small hotel cut into the hillside, which he runs with his younger wife Nihal (Melisa Sozen).

He has also inherited local properties, but leaves the business of rent collection to his agent. When a local boy, resentful of his father's humiliation by Aydin's agent, throws a stone at a jeep whilst Aydin and his agent are driving in it, Aydin ducks out of any responsibility or involvement. As the film progresses, the cocoon in which this self-satisfied man has wrapped himself is gradually unravelled. In a series of magnificent set-pieces, Aydin is exposed in his encounters with his wife, sister, and the family of the stone-throwing boy. He is finally brought face-to-face with who he truly is.

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He cut his teeth as an assistant on some of the greatest films in cinema history: Visconti's 'Obsession', Rossellini's 'Rome', 'Open City' De Sica's 'Bicycle Thieves'.

His eye for black-and-white film was masterful, but it was his innovations in colour with Antonioni's 'Red Desert' and 'Blow-Up', in the mid-1960s, that set him apart as a genius of the medium.

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In a small German town in 1919, Anna (Paula Beer) repeatedly visits the grave of her fiance, Frantz (Anton von Lucke), who was killed in battle during World War I. One day she spies a mysterious young Frenchman Adrien (Pierre Niney), also laying flowers at the grave.

She enquires about his business there and he explains he was a friend of Frantz. The pair become increasingly close and Anna becomes more and more intrigued by Adrien's history with her fiance. Long buried secrets are revealed that will illuminate unknown areas of their past lives and impact their future ones in a wearied and battle-scarred Europe. At once graceful and gripping, 'Frantz' is an intimate and timely exploration of healing and forgiveness across European borders.