Plot Synopsis: In the bourgeois circles of Europe after the Great War, can anything save the modern man? Harry Haller, a solitary intellectual, has all his life feared his dual nature of being human and being a beast. He’s decided to die on his 50th birthday, which is soon. He’s rescued from his solipsism by the mysterious Hermine, who takes him dancing, introduces him to jazz and to the beautiful and whimsical Maria, and guides him into the hallucinations of the Magic Theater, which seem to take him into Hell. Can humor, sin, and derision lead to salvation?

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Pass:www.worldscinema.org

Language(s):English
Subtitles:English & German sub/idx muxed

Quote:
Billy Wilder’s “Fedora” grows on you. It is, to begin with, a seemingly unnecessary movie based on a surprise ending that you can figure out within the first 15 minutes. It is, to end with, a movie that spends its last hour revealing the surprise. Anybody watching this movie for the pleasure of discovering the surprise is, therefore, doomed to boredom at the worst and mild astonishment at the best.

And yet … let’s level with one another. Why do we go to movies in the first place? We have a lot of reasons. Maybe we go to be thrilled, or scared, or to cry, or laugh or grin: Those are good, basic reasons, and nothing wrong with them. But sometimes, maybe we go even though we know the movie’s no masterpiece, because we look forward to the stars, or to the texture of the dialog, or simply because we know that at some dumb basic level the movie is going to be the work of a craftsman.

“Fedora” is a movie worth seeing for those last reasons. It has a surprise ending that’s no surprise (even though I won’t give it away – you’ll be able to give it away yourselves single-handedly). It has characters who turn out to be exactly as we think they’ll be, and it has instant insights into human nature that turn out to be worth about the instants they’re allotted.

And then it has something else. Style. Figure this out: If you can see “Fedora” and not get hung up on what it’s about and who the characters are, which is admittedly a large order, there’s a real pleasure to be had in sitting there and letting it happen to you. It is not a great movie, but it has the form and feel of a great movie. The movie it feels like is “Sunset Boulevard” (1950), which was also directed by Wilder and also starred William Holden, and cast Gloria Swanson as a Greta Garbo type actress who had retreated into her legend and her memories.

This time, the Garbo figure is played by Marthe Keller. Holden plays a broken-down Hollywood producer who spends his last dime traveling, to a Mediterranean island where she has isolated herself in total privacy, and guards her suspiciously well-preserved beauty. Like “Sunset Boulevard,” the movie is narrated by Holden, and involves flashbacks and memories and the bittersweet realization that we are all growing older at the rate of precisely 60 seconds every one minute.

What’s revealed in the film, though, isn’t really what it’s about. And the insights, the sad speculations on human nature, are a dime a dozen. But the feel of the movie is intriguing. Wilder presents his characters in ways that are new to this movie, yes, but also as old as every matinee romance ever filmed. His movie is about movies like this. Holden is perfectly cast as the would-be producer, and Keller is sneakily effective as the actress who plays herself in more ways than one.

Should you see it? I dunno. If you do, go with a clear mind and a slight grin on your face and a memory for the, movies of the 1940s. Accept the dumb parts, and the unsurprising revelations, as part of the film’s style instead of as weaknesses. Trust Wilder to know what he’s doing, even during the deliberate clichés. See it like that, and I bet you’ll like it. See it with a straight face, and you’ll think it’s boring and obvious. “Fedora’s” odd that way: It leaves itself up to the audience.

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Pass:www.worldscinema.org

Language(s):English

In the months after the heady weeks of May ’68, a group of young Europeans search for a way to continue the revolution believed to be just beginning.

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Pass:www.worldscinema.org

Language(s):French, English, Italian
Subtitles:French

This is one of the greatest films ever made. Mark my words. History will bear me out.
Acclaimed French filmmaker Claude Lelouch, whose classic examinations of intimate emotions
include the Oscar-nominated “A Man and A Woman,” paints a sweeping portrait of the human
condition in his epic drama “Les Miserables,” a twentieth-century tale inspired by the
nineteenth-century masterpiece of French writer Victor Hugo. Lelouch’s “Les Miserables”
focuses on two French families who struggle, hope, suffer and ultimately find love and
friendship in the face of nearly insurmountable odds.

The film stars international acting legend Jean-Paul Belmondo as Henri Fortin, a humble
man whose life takes him through some of the most important events of contemporary times.
As he alternately rises to heroism and sinks to criminal desperation, Fortin’s existence
mirrors the struggle between good and evil that illuminates Victor Hugo’s character, Jean
Valjean.

When Fortin meets and befriends the wealthy, intellectual Ziman family (Michel Boujenah,
Alessandra Martines and Salome) who are fleeing French and German Nazi persecution of the
Jews, he builds an unusual friendship with the brilliant but desperate trio. And for the
first time, he learns the story of Jean Valjean and comes to see himself as a real-life
extension of Hugo’s protagonist.

The Zimans read Les Miserables to the illiterate Fortin as he smuggles them across the
country, and by the time their momentous journey is finally complete, they have all come
to realize their roles in the parallel epics of literature and life.

With a stellar cast that includes Annie Giradot, Philippe Leotard and Clementine Celarie,
Claude Lelouch incorporates vignettes from Fortin’s past, from the lives of Fortin’s and
Lelouch’s own parents and from Hugo’s novel into the saga, spanning generations and
delineating his-and Fortin’s-belief that, in the words of Willa Cather, “there are only
two or three stories in the world and we must all live them over and over.”

“Les Miserables,” written, produced and directed by Claude Lelouch, and freely adapted
from the novel by Victor Hugo, begins at the start of the twentieth century, with a
glittering New Year’s celebration that soon leads to a man’s suicide. Before we know it,
another man-the lowly Fortin-is convicted of murder and serving time in a cruel prison.

The prison scenes were filmed at Fort Joux, a real jail hundreds of years old. The
forbidding setting brought a sense of gravity to all of the actors and an air of
timelessness to the story of man’s eternal suffering on Earth.

Meanwhile, Fortin’s adoring wife and young son await his release and try their best to
survive until they are re-united. However, it is not to be. Fortin suffers in jail and
dies, and his wife is turned to prostitution by the venal innkeepers who employ her. The
young Henri lives a miserable existence, swallowed by sorrow, until he is taught to box.

After Henri Fortin leaves the inn and becomes a young soldier, the viewer encounters him
about to begin a boxing match in an open hospital courtyard. He is surrounded by hundreds
of wounded World War I soldiers; the year is 1918 and snow is falling heavily, giving the
scene a hallucinatory air. Before the fight can begin, the end of the war is announced, and
the soldiers begin joyously chanting “Fortin, Fortin!”

Scene after scene of spectacle and personal revelation follow, spanning decades and moving
from elegant drawing rooms to wartime prisons to expansive outdoor landscapes. As the Nazi
occupation of France begins to cast its shadow over the country, town after town and peaceful
countrysides as well are transformed into terrifying traps for the Zimans and the thousands
of other French Jewish families. The Zimans travel by train, by truck and by car, hiding in
small towns and under floorboards, far from their beautiful home and fearing death every
minute.

As they flee one house, merely steps ahead of their pursuers, they find themselves in the
hands of Henri Fortin, and at the beginning of a friendship that is as strong as it is
unlikely. Throughout the enormous events that follow for all of them, the focus remains on
the personal fortunes, emotions and actions of the people who so fascinated Lelouch and his
creative predecessor, Victor Hugo.

Many years after his sad childhood, Fortin returns to the Guillaumes’ inn as an adult,
accompanied by three criminal accomplices, known as Addition, Blame and Bonnard (Ticky
Holgado, Antoine Dulery and Jacques Bonnot). Fortin is pained by the memories of the treatment
that sent his mother to her death, and determined to confront the brutal innkeepers who were
responsible. But once he arrives he learns that the Guillaumes have died and their son and
grandson, a much kinder duo, now run the inn.

After spending the night at the inn, Fortin’s group awakes to discover Allied ships lining
the horizon. Though they are thrilled by this development, their happiness quickly turns to
terror as they find themselves the target of a vicious shelling. Fortin once again
demonstrates heroism in, ironically, defending the inn.

This is a film made by an artist at the zenith of his powers. The breadth and scope of this
film reaches a level very rarely seen, and is usually accomplished by a director who has
reached the age where his life’s experiences, knowledge of the artistry of cinema and
imaginative fortitude all mesh to create an act of pure magic. Think of Ingmar Bergman’s
Fanny & Alexander, Akira Kurasawa’s Kagemusha, or Laurence Olivier’s King Lear. The way
every scene, character, episode, even the music is integrated is absolutely flawless. It is
equal parts funny, despairing, poignant, courageous, thoroughly engrossing, beautifully
photographed, supremely edited, perfectly paced. The casting of Jean-Paul Belmondo, with his
hounddog face, as Jean Valjean is a stroke of genius because he is so genuinely able to show
confusion, delight, joy, understanding, patience, anger, practically EVERY human emotion
there is, which Hugo used and Lelouch utilizes, so brilliantly. And the beautiful French
actress Alessandra Martines, who has not done as much acting in her life as she has dancing,
gets the honor of embodying the film’s climax, which is one of the most satisfying emotional
conclusions I’ve ever seen.

Reviewer by: Malcolm Lawrence (Seattle)

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Pass:www.worldscinema.org

Language(s):French
Subtitles:English

Synopsis
Loner Cody trades with the Comanches to get a white girl released. He is joined on his way back to the girl’s husband by an outlaw and his sidekicks. It turns out there is a large reward for the return of the girl, and with the Indians on the warpath and the outlaw being an old enemy of Cody’s, things are set for several showdowns.

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Pass:www.worldscinema.org

Cinepad.com wrote:
The deadpan comic buzz you get from Gus Van Sant’s Drugstore Cowboy is practically narcotic. The movie heightens your senses and mildly anaesthetizes them at the same time, like a potent mixture of stimulants and depressants. One of the most invigoratingly original American comedies since Jim Jarmusch’s Stranger Than Paradise, Drugstore Cowboy follows druggie, irregular rhythms all its own. Whether in a heavy-lidded daze or wired with giddy, post-high paranoia, Drugstore Cowboy displays an uncanny alertness to detail and texture — yellow-white bus headlights that barely penetrate the slate-grey, late-afternoon gloom on a rain-drenched north-western road; the surreal surge of blood into a hypodermic syringe as it enters a vein in intensified close-up… But the film’s vibrant aliveness to such minute sensations is submerged beneath a cold, clammy complexion: the blue-grey pallor of a day-old corpse.

Set under the oppressive, overcast skies of Portland, Oregon, in 1971, Drugstore Cowboy boldly stakes out a piece of cinematic fringe territory, as seemingly remote as the chilly little corner of the world in which this dead-end road movie takes place. In a late-’80s America obsessed with winners, and a contemporary climate of anti-drug sentiment verging on hysteria, Van Sant has made a devastatingly funny, melancholy but unromanticized picture about a bedraggled band of doped-up losers — with no apologies to (or excuses for) anybody. It’s a shame you even feel the need to mention that this isn’t a revisionist anti-drug tract, or a seductive glamorization of narcotics use/abuse. That much ought to be as apparent as it is irrelevant to what this movie’s up to.

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Pass.www.worldscinema.org

Language(s):English,Dual Audio – Commentary with director and Matt Dillon
Subtitles:English (srt)

OCCUPY LOVE captures the heart of the movement of movements that is sweeping the planet in response to today’s economic and environmental crises. ‘Philosopher-filmmaker’ Velcrow Ripper travels to history-making hot spots, asking the question, ‘How can crisis create a love story?’ Scenes include the Egyptian revolution in Tahrir Square, Spain’s Indignado movement, Occupy Wall Street NYC, The Maple Spring in Quebec, and indigenous activists at the Alberta Tar Sands. The film explores the aspects of this arising that take the form of what Martin Luther King Jr. called ‘Love in action.’ Woven throughout is a deep exploration on the meaning and importance of ‘public love’ – the love of humanity, the love of the planet.

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Pass:www.worldscinema.org