A music teacher inspires his unruly young charges in this runaway French hit.
Acclaimed as one of cinema's finest anti-war movies, Abel Gance's rousing indictment of warfare is as powerful and relevant today as it was on its original release in 1938 Having experienced the horror of the First World War, idealistic poet Jean Diaz (Victor Francen, A Farewell to Arms) turns to technology in a bid to prevent further barbarity. But a meddling and unscrupulous bureaucracy allows Jean's plans to be hijacked as Europe slides towards another great conflict. Using his epic 1919 silent version of the film as a template, Gance pits mankind's romanticism against its capacity for savagery. Originally released on the eve of the Second World War (and the same year as Jean Renoir's La Grande Illusion), J'accuse urges us to honour the memory of the fallen by learning the lessons of a catastrophic past. Special Features: Presented in High Definition and Standard Definition New audio commentary by Paul Cuff Stills and special collections gallery Illustrated booklet with full film credits, reviews and a new essay by Paul Cuff
Agent 007 (Roger Moore) blasts into orbit in this action-packed adventure that takes him to Venice Rio de Janeiro and outer space. When Bond investigates the hijacking of an American space shuttle he and beautiful CIA agent Holly Goodhead (Lois Chiles) are soon locked in a life-or-death struggle against Hugo Drax (Michael Lonsdale) a power-mad industrialist whose horrific scheme may destroy all human life on earth!
In an oeuvre permeated with ambivalence toward bourgeois life director Jean Renoir speculates on the result of the abandonment of those values in Boudu Saved From Drowning. Producer Michel Simon stars as Boudu a vagabond who attempts suicide by throwing himself into the Seine grieving over the loss of his dog. But Eduaord Lestingois (Charles Granval) a humane bookseller rescues him and takes him into his home hoping to reform the shaggy bum. Shortly thereafter anarchy
A raging torrent of emotion that even nature can't control! As two couples are visiting Niagara Falls tensions between one wife (Marilyn Monroe) and her husband reach the level of murder...
In the early thirties Christopher Isherwood is a young aspiring writer living in pre World War II Berlin. Christopher meets the vivacious peniless singer Sally Bowles a young English woman who is performing in a cabaret and they soon develop a platonic relationship. Then Sally meets wealthy American Clive at a party who helps Sally and Christopher finacially and socially for a while and they have the time of their lives. Things begin to change as the increasing Nazism in the country
John Russell (Scott) a composer and music professor loses his wife and daughter in a tragic accident. Seeking solace he moves into an old mansion unoccupied for twelve years. But a child-like presence seems to be sharing the house and trying to share its secrets with him. Through research into the house's past and a seance held within Russell discovers the horrific secret of the house's past a secret that the presence will no longer allow to be kept...
Time Out, which won the Lion of the Year at Venice in 2000, is a midlife crisis film with a difference. Vincent is an out-of-work consultant who fabricates an increasingly complex and unsustainable business life to give his wife and children a secure existence. In the process, old friends are caught up in shady investments and Geneva becomes the focal point of his fugitive career. Then, as the net closes, the eternally routine nature of Vincent's professional life returns to haunt him anew. Aurélien Récoing is persuasively understated in the lead role, conveying a myriad of emotions with his subtle facial gestures. Karin Viard is sympathetic as the trusting Muriel, ready to offer support even when the web of lies has all but unravelled, and there's an engaging contribution from Serge Livrozet--the adept black marketeer sincere in his willingness to help. Laurent Cantet's direction is a fine example of less is more, sustaining the film with relative ease over 129 minutes. Pierre Milon's camerawork makes the most of some stunning scenery on the Franco-Swiss border and Jocelyn Pook's spare but brooding score is a discreetly effective enhancement. As the closing scene ties up loose ends with a neatly barbed irony, you're left in little doubt that Vincent's problems are about to start again. --Richard Whitehouse
The unquiet twin spirits of Fritz Lang and Franz Kafka preside over Europa, Lars von Trier's sardonic, saturnine vision of just-post-WWII Germany. In 1945 Leo Kessler, a young American of German descent, returns to the shattered land of his forebears to help in its reconstruction. Through his uncle, who works for the huge railway network Zentropa, he gets a job as a trainee sleeping-car conductor and also meets the seductive Katharina Hartmann, daughter of Zentropa's owner Max. But acts of sabotage and murder are being planned by unregenerate young Nazis calling themselves Werewolves, and very soon Leo's hapless innocent abroad starts finding out that, in this time and place of shifting loyalties, nothing and no one are what they seem. As if to accentuate this mood of nervous ambiguity, von Trier constantly switches from black and white to colour, and from English to (subtitled) German dialogue, often right in the middle of a scene. The cast boasts several iconic figures of European cinema, including Barbara Sukowa (a Fassbinder favourite) as femme fatale Katharina, and Eddie Constantine (from Godard's Alphaville) as a manipulative American colonel, while a literally hypnotic voice-over is spoken by the great Bergman actor Max von Sydow. There's more than a hint that von Trier intends a mischievous side-glance at today's Europe, and today's European film industry, in resentful thrall to the might of Hollywood. And while Europa is gripping and richly atmospheric, it's never without humour. The long, final episode is a tour de force of tragicomedy, with poor Leo juggling the competing demands of love and loyalty, life and death, while being harassed by his uncle who, horrified that Leo has lost his official peaked cap, forces him to wear a knotted handkerchief on his head, as well as by a pair of punctilious railroad inspectors demanding to know how long it takes him to make up a sleeping-car bunk. Lang and Kafka, sure, but maybe a touch of the Marx Brothers, too. --Philip Kemp
Stolen Kisses reunites François Truffaut and Jean-Pierre Léaud to catch up with Truffaut's cinematic alter ego, Antoine Doinel, the troubled adolescent of The 400 Blows. Stolen Kisses opens with the now-grown Doinel sprung from military prison with a dishonourable discharge, drawn directly from Truffaut's own history of delinquency, but the parallels end there. Lovesick Doinel woos the perky but unresponsive object of his affections, Christine (Claude Jade) while he engages in a series of professions--hotel night-watchman, private investigator, TV repairman--with mixed success and comic entanglements. But when he falls in love with the elegant wife of his client (Delphine Seyrig at her most beautiful and charming), Christine realises she misses Antoine's persistence and clumsy passes, so she embarks on a seductive plan of her own. Truffaut's comic confection is full of deadpan gags and screwball chaos, a world away from the heavy seriousness of The 400 Blows, and Léaud is endearingly naive as the determined Doinel, forging ahead with more pluck and passion than aptitude. It may be Truffaut's most sweetly romantic film, a knowing man's embrace of eager innocence and storybook sentiment. Doinel returned two years later in Bed and Board. --Sean Axmaker
Available for the first time on DVD!!! Vincent a stunt pilot is acquitted of murdering his wife and her lover. However a few years later the judge in the case comes to blackmail him. The judge's nephew is having trouble with his wife and they demand that Vincent kill her. The judge a confirmed bachelor takes Paul and Vincent on the road to search for Paul's wife Marie... Patrice Leconte's outrageously fun black comedy is available for the first time on DVD!
No Retreat No Surrender: Bruce Lee fan Jason Stillwell is not the best student in his martial arts class. Beaten numerous times he is horrified when the local crime syndicate runs his teacher out of town. Training hard using pearls of wisdom from the ghost of Lee Stillwell sets his newly acquired skills upon the syndicate and its champion the deadly Ivan (Van Damme)... (Dir. Corey Yuen 1985) No Retreat No Surrender 2 - Raging Thunder: It's not a rematch it's war! An American kickboxer heads to Cambodia to rescue his Vietnamese girlfriend from Soviet aggressors in the aptly named Death Mountain... (Dir. Corey Yuen 1989) No Retreat No Surrender 3 - Blood Brothers: Two feuding brothers are reunited by the hunt for their father's murderer - a wanted international terrorist. Together they seek the men responsible using their martial arts skills to the full.... (Dir. Lucas Lowe 1990)
Stolen Kisses reunites François Truffaut and Jean-Pierre Léaud to catch up with Truffaut's cinematic alter ego, Antoine Doinel, the troubled adolescent of The 400 Blows. Stolen Kisses opens with the now-grown Doinel sprung from military prison with a dishonourable discharge, drawn directly from Truffaut's own history of delinquency, but the parallels end there. Lovesick Doinel woos the perky but unresponsive object of his affections, Christine (Claude Jade) while he engages in a series of professions--hotel night-watchman, private investigator, TV repairman--with mixed success and comic entanglements. But when he falls in love with the elegant wife of his client (Delphine Seyrig at her most beautiful and charming), Christine realises she misses Antoine's persistence and clumsy passes, so she embarks on a seductive plan of her own. Truffaut's comic confection is full of deadpan gags and screwball chaos, a world away from the heavy seriousness of The 400 Blows, and Léaud is endearingly naive as the determined Doinel, forging ahead with more pluck and passion than aptitude. It may be Truffaut's most sweetly romantic film, a knowing man's embrace of eager innocence and storybook sentiment. Doinel returned two years later in Bed and Board. --Sean Axmaker
The BFI’s acclaimed Jacques Tati remaster series continues with the world premiere High Definition release of Tati’s multi-award-winning third feature, Mon Oncle, in two different versions. This 1958 box-office hit confirmed his reputation as the foremost comic artist of his day and picked up a string of awards, including the 1959 Oscar for Best Foreign Film.Tati’s second outing as the accident-prone Monsieur Hulot takes him to Paris where the high-tech lifestyle of his relatives, the Arpels, is contrasted with his old-fashioned ways in a scruffy part of town. With an eye on the international market, and wishing to avoid subtitles (which he always disliked), Tati shot two versions of the film – Mon Oncle and My Uncle, the latter replacing French signs such as ‘Ecole’ and ‘Sortie’ with their English equivalents and dubbing much of the main dialogue into English. This specially remastered edition contains both versions.
A dowdy nurse Leah (Josiane Balasko) is in love with her boss (Richard Berry) but he only has eyes for bimbos. She sells her soul to the Devil's apprentice Abargadon (Daniel Auteuil) in return for a new bimbo makeover to snare her boss...
Antoine Doinel is back in civilian life after being discharged from the army. He is reunited with Christine Darbon the girl he was in love with before he joined the army. He needs a job and tries his hand as a night porter in a hotel but loses the job he also tries private investigation. Here he meets Fabienne who he becomes infatuated with meanwhile carrying on his relationship with the prim and proper Christine who he later proposes to.
The Story of O (Dir. Just Jaeckin 1975): This film is based on the hugely successful S&M novel that has been read by millions of people worldwide. The author Pauline Reage tells the story of a beautiful young woman known only as 'O' who is taken by her boyfriend Rene to a chateau just outside Paris. There 'O' is trained in bondage and sexual perversion. 'O' is deeply in love with Rene and in order to prove her love she allows herself to be subjected to all kinds of degradation
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