All eyes are on Burbank - Truman Burbank, that is. And you'll want to join the masses in taking a fresh new look at this marvel of a movie from director Peter Weir. Truman (Jim Carrey) is about to discover just how abnormal his seemingly "normal" life is. What he doesn't realize - just yet - is that his whole life is a reality TV show, televised and broadcast for the world to see!
Garbo Talks!, proclaimed ads when silent star Greta Garbo debuted in talkies. Nine years and 12 classic screen dramas later, the gifted movie legend was ready for another change. Garbo Laughs!, cheered the publicity for her first comedy, a frothy tale of a dour Russian envoy sublimating her womanhood for Soviet brotherhood until she falls for a suave Parisian man-about-town (Melvyn Douglas). Working from a cleverly barbed script written in party by Billy Wilder, director Ernst Lubitsch knew better than anyone how to marry refinement with sublime wit. "At least twice a day the most dignified human being is ridiculous", he explained about his acclaimed Lubitsch Touch. That's how we see Garbo's lovestruct Ninotchka: serenely dignified yet endearingly ridiculous. Garbo laughs. So will you.
One of the earth-shaking feature debuts in the history of cinema, Maurice Pialat's L'Enfance-nue provides a prespective on growing-up that rejects both sentimentally and modish cynicism. Its unflinchingly, but also warmly accomodating, outlook on childhood attracted Francois Truffaut to take on the role as co-producer of Pialat's film. First-time actor Michel Tarrazon plays the young François, a provincial orphan whose destructive behaviour precipitates his relocation from the home of a long-term foster family to the care of a benevolent elderly couple. In the course of this transition, Pialat’s film presents the turbulence of François’s unmoored existence, and his explosive reactions to the contradictory emotions it engenders.
Blade Runner (1982)Blade Runner: The Final Cut / Dangerous Days / Bladerunner
Rick Deckard (Harrison Ford) prowls the steel-and-microchip jungle of 21st century Los Angeles. He's a "Blade Runner" stalking genetically made criminal replicants. His assignment: kill them. Their crime: wanting to be human. A visual stunner, remastered for improved home presentation, director Ridley Scott's vision of this sci-fi cinema classic intriguingly differs from what 1982 moviegoers saw. This version omits Deckard's voiceover narration, develops in greater detail the romance between Deckard and Rachael (Sean Young) and removes the "uplifting" finale. Most intriguing of all is a newly included unicorn vision that suggests Deckard may be a humanoid. The result is a heightened emotional impact a great film made greater.
On the eve of her wedding, the beautiful opera singer Malvina is seemingly mysteriously killed and abducted by the malevolent Dr Droz. Felisberto, an innocent piano tuner, is summoned to Droz's secluded villa to service his strange musical automata. Little by little, Felisberto learns of the doctor's plans to stage a 'diabolical opera' and of Malvina's fate. He secretly conspires to rescue her, only to become trapped himself in the web of Droz's perverse universe.
When shy, emotionally fragile Catherine Sloper (Olivia de Havilland), the daughter of a wealthy New York doctor, begins to receive calls from the handsome spendthrift Morris Townsend (Montgomery Clift), she becomes possessed by the promise of romance. Are his smoldering professions of love sincere, as she believes they are? Or is Catherines calculating father (Ralph Richardson) correct in judging Morris a venal fortune seeker?
A group of young actors including several local unknowns - Philippe Marlaud, Bernard Tronczyk, Patrick Lepczynski, and Sabine Haudepin , among others - make up the cluster of friends adrift beneath the twilight of their school years. There's drama, violence, and pot-induced laughs - group holidays, indiscriminate sex, advances from teachers twenty-five years their seniors, attempted moves to Paris, and few prospects of passing the bac, the final set of exams French students take before embarking into the world to... do what?
In a small village in a remote valley where the harshness of life dictates that survival overrules compassion, elderly widow Orin is approaching her 70th birthday - the age when village law says she must go up to the mythic Mount Narayama to die. But there are several loose ends within her own family to tie up first.
The Day of the Owl stars Franco Nero (Django) as a police chief who, while investigating the death of a construction worker, goes up against corrupt officials and a ruthless mafia boss (Lee J. Cobb, On the Waterfront). Adapted from the celebrated novel by Leonardo Sciascia (Illustrious Corpses, Todo Modo), The Dag of the Owl was the first book to openly deal with organised crime in Sicily.
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.
On the evening of March 31, 1943, legendary lyricist Lorenz Hart (Ethan Hawke) confronts his shattered self-confidence in Sardi's bar as his former collaborator, Richard Rodgers (Andrew Scott), celebrates the opening night of his groundbreaking hit musical 'Oklahoma!'.
When Walter Craig (Mervyn Johns) visits a country house, he finds himself trapped in his recurring nightmare that involves the manors guests sharing their experiences with the supernatural. With each bizarre tale told, whether it be about a haunted mirror or a ventriloquist tormented by his dummy, Craig hurtles closer and closer to the nightmare's end, where he knows something awful will happen...
Saturday afternoon, June 3, 2017. Twenty-five year old Reality Winner (Sydney Sweeney) is confronted at her home by the FBI. A cryptic conversation begins and soon Reality's life starts to unravel. With all dialogue taken directly from the FBI's transcript of the interrogation - alternately nail-biting and banal, darkly funny and surreal - we track one woman's experience of the U.S. government at work. And as more details of Realitys life are revealed and more armed men arrive, a complex portrait emerges of an American millennial, yoga teacher, and veteran under siege.
Jean (Jean Yanne) and Catherine (Marlene Jobert) are a couple whose every move charts an advancement deeper into an emotional warzone. Theirs is the classic and the tragic case of an emotional abuse centred around a perplexing, but powerful, interdependency. As the moment approaches wherein the relationship can no longer perpetuate its cycle of weekend holidays, apologies, and submissions, Maurice Pialat discloses all the ways in which the future might be at once liberated, and enslaved, by the past. Based on a novel by Pialat himself, and on the trauma of his own personal life in the years leading up to the film. Nous ne vieillirons pas ensemble was a smash-hit at the time of its release, and retains its power up to the present day.
Aida (Claudia Cardinale) has fallen for a rich playboy and arrives at his door to find it firmly shut and herself ignored. His younger, more sensitive brother, Lorenzo (Jacques Perrin) helps her and finds himself quickly besotted. Cardinale gives one of her most tender and vulnerable performances in 'Girl with a Suitcase', an unsentimental coming-of-age story that deals as much with adolescence as class.
We use cookies to help you navigate our website and to keep track of our promotional efforts. Some cookies are necessary for the site to operate normally while others are optional. To find out what cookies we are using please visit Cookies Policy.