Set in Sweden at the turn of the century Ingmar Bergman's semi-autobiographical story tells of young sister and Brother Fanny (Pernilla Allwin) and Alexander (Bertil Guve) whose comfortable lives change dramatically when their father dies onstage during a performance of 'Hamlet'. Their mother marries a puritanical bishop and the new family move into the bishop's draughty home where the children are mistreated and their mother becomes consumed with regrets. The film won the Oscar for Best Foreign Language Film as well as Oscars for Best Cinematography Best Costume Design and Best Art Direction.
Fanny and Alexander is one of the more upbeat and accessible films from Ingmar Bergman. This autobiographical story follows the lives of two children during one tumultuous year. After the death of the children's beloved father, a local theatre owner, their mother marries a strict clergyman. Their new life is cold and ascetic, especially when compared to the unfettered and impassioned life they knew with their father. Most of the story is seen through the eyes of the little boy and is often told in dreamlike sequences. Colourful, insightful, and optimistic, this is far less grim than most of Bergman's work. It was awarded four of the six Oscars for which it was nominated in 1984, including Best Foreign Language Film. Though this was announced as his last film, Bergman continued to work into the late 1990s, though mostly for Swedish television.--Rochelle O'Gorman, Amazon.com
Torn between sexual desire her vows of chastity and her fear of eternal damnation a medieval nun struggles with her sanity. Bordering on madness she seeks solace in the savage words of sexual denial that are spoken to her by a disturbing death Nun vision. Her sanity is further threatened by the imagined figure of Mary Magdalene who challenges her concepts of sex as an evil malignant force. In between these discussions the nun's mind is filled with brooding violent sexual fantasies that push her into a world of blackness blood and orgasmic destruction.
Torn between sexual desire her vows of chastity and her fears of eternal damnation a medieval nun struggles with her sanity. Bordering on madness she seeks solace in the savage words of sexual denial that are spoken to her by a disturbing Death Nun vision. Her sanity is further threatened by the imagined figure of Magdalen who challenges her concepts of sex as an evil malignant force. In between these discussions the nun's mind is filled with brooding violent sexual fantasies that push her into a world of blackness blood and orgasmic self destruction. Sacred Flesh has continued to provoke controversy since its original theatrical release in 2000 and has regularly featured in the press and in tv documentaries where the clips of lesbian whippings and crucified orgies still shock.
Torn between sexual desire her vows of chastity and her fear of eternal damnation a medieval nun struggles with her sanity. Bordering on madness she seeks solace in the savage words of sexual denial that are spoken to her by a disturbing death Nun vision. Her sanity is further threatened by the imagined figure of Mary Magdalene who challenges her concepts of sex as an evil malignant force. In between these discussions the nun's mind is filled with brooding violent sexual fantasies that push her into a world of blackness blood and orgasmic destruction.
With a title like Chopper Chicks in Zombietown, you'd be excused from any great expectations here--but you'd also be missing out on one of trash-cinema's great pleasures: catching one of Hollywoood's A-list in their pre-fame days. In this case, the catch is Billy Bob Thornton, in a brief appearance as one of the Chopper Chicks' ex-husbands. It may be a guilty pleasure, but seeing this good 'ol boy playing dumb-as-a-doorknob long before Sling Blade (or A Simple Plan) and paying his dues is still, however strangely, gratifying. As for the film itself, Chopper Chicks is no Hell Comes to Frogtown, but it comes with all of the Troma hallmarks. The requisite beheadings and low-grade effects are all present and correct, along with the so-bad-it's-really-bad dialogue (except for the occasional so-bad-it's-good one-liner). The acting is wooden, the story negligible (cycle sluts come to town, kill zombies, save a schoolbus full of blind kids), and even the appearances by Thornton and original MTV (US) VJ Martha Quinn provide only occasional relief. The DVD extras include a photo gallery of screen-stills and the original trailer. --Randy Silver
Taunted by visions of Mary Magdalene, who reveals the confessions of the younger nuns at the convent, the Mother Superior's mind is filled with the violent, sexual acts of her fellow sisters.
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