elasticpiriformis's - Rented List

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A father (Sergi López) and his son (Bruno Núñez Arjona) arrive at a rave deep in the mountains of southern Morocco. They're searching for Mar - daughter and sister - who vanished months ago at one of these endless, sleepless parties.

Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limit.

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In his one-of-a-kind fiction/documentary hybrid 'Symbiopsychotaxiplasm: Take One (1968), the pioneering William Greaves presides over a beleaguered film crew in New York's Central Park, leaving them to try to figure out what kind of movie they're making.

A couple enacts a breakup scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies, expanded thirty-five years later by its unconventional follow-up, 'Symbiopsychotaxiplasm: Take 2 1/2 (2005). The "sequel" sees 'Take One' actors Audrey Henningham and Shannon Baker reunited in a more personal, metatheatrical exploration of the effects of the passage of time on technology, the artistic process, and relationships - real and fabricated.

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Timothée Chalamet is Marty Mauser, a silver-tongues hustler with a dream that no one respects: to become the world champion table tennis player.

Hopping from one scheme to the next, Marty goes to hell and back in pursuit of greatness, journeying from the Lower East Side to London, Paris, Tokyo, the Great Pyramids, and back with a trail of scorned lovers, business moguls, and mobsters hot on his tail.

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From the inimitable Billy Wilder (Double Indemnify, The Lost Weekend) comes this classic comedy that mixes romance with hard-boiled wit in a story about stiff-necked Iowa congresswoman Phoebe Frost (Jean Arthur -Shane) mired in jaded postwar Berlin.

As she investigates the morale of American troops, Phoebe is cynically wooed by fellow Iowan Captain John Pringle (John Lund), who is trying to cover up his affair with Nazi-tainted chanteuse Erika von Schlutow (Marlene Dietrich). Filled with sharp dialogue and satiric jabs, 'A Foreign Affair' is one of Wilder's most beloved comedies...

An innocent young man, János (Lars Rudolph), sees violence break out after an isolated village is inflamed by the arrival of a circus and its peculiar attractions: a giant whale and a mysterious man named "The Prince".

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After the French New Wave, the sexual revolution, and the upheavals of May 1968 came the near religiously revered magnum opus by Jean Eustache.

In his long-unavailable body of work, ranging from documentaries about his native village to closely autobiographical narrative films, Eustache pioneered a forthright and fearless brand of realism. The pinnacle of this innovative style, 'The Mother and the Whore' follows Alexandre (Jean-Pierre Leaud), a Parisian pseudo-intellectual who lives with his tempestuous girlfriend, Marie (Bernadette Lafont), even as he begins a dalliance with the sexually liberated Veronika (Frangoise Lebrun), leading the three into an emotionally turbulent love triangle. Through daringly sustained long takes and confessional dialogue, Eustache captures a generation navigating the disillusionment of the 1970s, and in the process achieves an intimacy so deep it cuts.

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A wildly entertaining psychological thriller, the film follows two conspiracy-obsessed young men who kidnap a powerful CEO they believe is an alien out to destroy humanity.

What begins as a paranoid act spirals into a battle of delusions and control - one as viscerally unpredictable as it is provocative.

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Morvern Callar (Samantha Morton) is a 21 year old supermarket worker from a small port town in the west of Scotland. Morvern believes that life is something that you get on with as best you can with what you've got.

one morning, Morvern finds that what she's got is a dead boyfriend on the kitchen floor...

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Sergei Paradjanov's celebrated, dreamlike masterpiece paints an astonishing portrait of the 18th century Armenian poet Sayat Nova, the 'King of Song'. Paradjanov's aim was not a conventional biography but a cinematic expression of his work, resulting in an extraordinary visual poem.

Key moments in his subject's life are illustrated through a series of exquisitely orchestrated tableaux filled with rich colour and stunning iconography, each scene a celluloid painting alive with stylised movement. One of cinema's most revered and beautiful films, The Colour of Pomegranates is a unique and rewarding experience that haunts the memory long after viewing.

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An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by Hou Hsiao-hsien traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai "flower houses", where

courtesans live confined to a gilded cage, ensconced in opulent splendor but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (Tony Leung Chiu-wai), whose relationship with his longtime mistress (Michiko Hada) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, Flowers of Shanghai evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreen - even as its emotional fallout registers with quiet devastation.

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A Tokyo suburb buzzing with gossip is the backdrop to Ozu’s cheerful comedy, 'Good Morning' (1959). Disillusioned with the meaningless talk of their elders, two brothers take a vow of silence when their parents refuse to buy them a TV.

'Good Morning' pokes fun at the silliness of everyday chatter whilst gently acknowledging its fundamental necessity. Also included here is Ozu’s superb early comedy 'I Was Born, But...' (1932) The forerunner of 'Good Morning', this silent masterpiece contains many similar themes but has a darker edge. As brothers Ryoichi and Keiji struggle to outwit the local bully and scale the pecking order in their new neighbourhood they find out that injustice does not end with school.

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'Apur Sansar', the adult Apu (Soumitra Chatterjee) hopes to become a writer, but his lack of finances force him to abandon his university studies. He meets an old friend Pulu (Swapan Mukherjee) and together they travel to the wedding of Pulu's cousin, Aparna (Sharmila Tagore).

When the bridegroom turns out to be insane and the wedding is cancelled, Apu agrees to marry Aparna to save her from ridicule. They return to his Calcutta apartment to start a new life and Apu comes to love his wife, but his happiness is soon shattered by a tragic turn of events.

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Mr. Lazarescu (Ion Fiscuteanu) is a 63 year old man who shares his apartment with his three cats. Suffering from pains in his head and stomach he calls an ambulance and whilst he waits, asks his neighbours for some pills.

Though they disapprove of his heavy drinking and the state of his home, they try their best to help. Hindered by a major bus accident the medics eventually arrive and so begins a long and increasingly frustrating night. Shuffled from pillar to post he becomes wearier and weaker in the face of the medical professions bureaucracy and casual inefficiency. A succession of colourful characters permeates the film and the combination of dry humour and 'scalpel sharp' satire make this one of the year's most deeply affecting films.

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Cited by Ray as one of his best films, this tale of a neglected housewife in Victorian-era Calcutta is adapted from a story by Rabindranath Tagore.

Sailen Mukherjee stars as a newspaper journalist who is driven more by professional ambition than the needs of his cultured and intelligent wife Charaulata (Madhabi Mukherjee). Sensing her loneliness, he enlists the help of his cousin Amal (Soumitra Chatterjee), a sensitive would-be writer, to keep her company. Charu and Amal hit it off and, almost inevitably, their feelings for each other begin to deepen...

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A young girl named Teresa Banks (Pamela Gidley) is found brutally murdered. The FBI agents leading the investigation are drawn into a bizarre and dangerous world, and then disappear. The case is handed to Agent Dale Cooper (Kyle MacLachlan).

He knows it is only a matter of time before the killer strikes again. Welcome to Twin Peaks, an idyllic part of small-town America, one year later. A picture postcard setting, but hiding beneath the surface of this tranquil town lies an evil force. One that is praying on the towns most popular and beautiful student. Her name is Laura Palmer (Sheryl Lee).