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A 1968 British musical short film (30 mins) starring Judy Huxtable and Anthony May. It was directed by Douglas Hickox. It tells the story of a young man more
A 1968 British musical short film (30 mins) starring Judy Huxtable and Anthony May. It was directed by Douglas Hickox. It tells the story of a young man (May) cycling around the Hampstead (NW3) area of London on a Raleigh RSW16. After crashing into a billboard he falls in love with a fashion model (Huxtable) depicted on it. Despite the title, the Belsize Park area does not actually feature. There is almost no spoken dialogue, and the soundtrack to the film is musical virtually throughout. The title song of the film has been a hit for Mireille Mathieu and Engelbert Humperdinck (a top ten hit in the UK and a top 40 hit in the USA) amongst others. The title is derivative of the French film, Les Parapluies de Cherbourg; apart from a musical theme there is no other obvious link. close
On the wedding day, the groom has a fire. The house in which the young people were supposed to live and all the property is burning. In a difficult moment, more
On the wedding day, the groom has a fire. The house in which the young people were supposed to live and all the property is burning. In a difficult moment, Gosstrakh comes to the rescue, having paid the injured newlyweds a large monetary compensation. close
One of the highest achievements of the new wave of Kirghiz cinema, which emerged in the mid-1960s. This story of a boy building sandcastles on the shores more
One of the highest achievements of the new wave of Kirghiz cinema, which emerged in the mid-1960s. This story of a boy building sandcastles on the shores of the Issyk-Kul Lake becomes a documentary parable on the tensions between an artist and society. close
From a Yankee Bryl story. The old fisherman Vechora lived all his life in his native village, everything here is dear to him. In this land he put his more
From a Yankee Bryl story. The old fisherman Vechora lived all his life in his native village, everything here is dear to him. In this land he put his work, defended from enemies in a difficult year. The film tells about the last day of the life of a good old man. close
The emotions, events, and bitterness of the 1968 Student Revolution have become more meaningful over time, and, like old wine, they have become enduring more
The emotions, events, and bitterness of the 1968 Student Revolution have become more meaningful over time, and, like old wine, they have become enduring and epic. It is no coincidence that the initial credits appear only in the middle of the film after an ever-accelerating stream of fragmented images and a ragged rhythm, as if dividing the narrative into two independent periods: “Before” and “After” the Fall, which becomes the true creative principle of being subordinated exclusively to the power of human love. close
The benefits of personal vehicle insurance.
Fyodor Ivanovich bought "Moskvich". Together with his wife, he was going to go to a picturesque lake in the more
The benefits of personal vehicle insurance.
Fyodor Ivanovich bought "Moskvich". Together with his wife, he was going to go to a picturesque lake in the suburbs. On the way, they drove for their mother-in-law to the new Moscow district and left the car at the entrance. Suddenly, shouts were heard from the street: “Accident!” Cold Fedor Ivanovich leaned out of the window and stunned — his car crushed dump truck. close
This film shows a German student escaping across the Berlin Border and being shot to death, while on the soundtrack, various platitudes about dying for freedom can be heard.
This film shows a German student escaping across the Berlin Border and being shot to death, while on the soundtrack, various platitudes about dying for freedom can be heard. close
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film more
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film and recorded fourteen hours of audio. Over the next few years, Kubelka toiled in the editing bay, producing a work charged with intricate, ironic brutality. close
Soviet Lieutenant Klimchenko during the attack was wounded and was captured. Working for the fascists, Chernov tries to persuade Klimchenko to treason, more
Soviet Lieutenant Klimchenko during the attack was wounded and was captured. Working for the fascists, Chernov tries to persuade Klimchenko to treason, and, having achieved nothing, goes on a provocation. Using information from the lieutenant’s notebook, Chernov turns to Soviet fighters on the radio from Klimchenko’s name and releases him to his inbox full of confidence that his plan will work. close
The war prevented Marina Kupriyanova from fulfilling her dream of becoming an actress. She works as a waitress in the youth cafe "Rovesnik" and today more
The war prevented Marina Kupriyanova from fulfilling her dream of becoming an actress. She works as a waitress in the youth cafe "Rovesnik" and today recalls the days of the heroic defense of Leningrad, which she participated in. close
George Lucas's senior project at the University of Southern California in 1966. It was named for the lap time of the Lotus 23 race car that was the subject more
George Lucas's senior project at the University of Southern California in 1966. It was named for the lap time of the Lotus 23 race car that was the subject of the film. It is a nonstory visual tone poem depicting the imagery of a car going at full speed, and featuring the car's engine as the primary sound element. Shot on 16mm color film with a 14 man student crew, it was filmed at Willow Springs Raceway, north of Los Angeles, CA. The Lotus 23 was driven by Pete Brock. close
Breakaway plays out like a visual symphony. A prototype for the best (but still, lesser) contemporary formalist music videos, like Peter Care’s “What’s more
Breakaway plays out like a visual symphony. A prototype for the best (but still, lesser) contemporary formalist music videos, like Peter Care’s “What’s the Frequency, Kenneth?” and “Drive” (both for REM), Conner’s movie is an experiment in the visual language of film. But no matter how powerful a formal analysis of his filmmaking process may be in suggesting how Conner’s rhythms affect us, there is much in Breakaway – in Basilotta’s brash and unbridled self-assertiveness, in Conner’s feverish camera style, and even in the uncomplicated honesty of Cobb’s catchy lyrics and tune – that defies verbalisation… and must simply be loved! -- Senses of Cinema close
