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The last twelve months in the life of Dejan Stanić, a former general in the Balkan war. For ten years, he was forced to hide from justice, especially more
The last twelve months in the life of Dejan Stanić, a former general in the Balkan war. For ten years, he was forced to hide from justice, especially the International Criminal Tribunal for the former Yugoslavia, on various undisclosed military bases. He finally found refuge with Slavko, an old man living in a small village in the mountains. Suffering from extreme isolation, Dejan will not only have to face a new environment and a new reality but won’t be able to escape his past. close
The action takes place in a nameless country occupied by the German army at the time of World War II. In a small village there's an asylum. A squad of more
The action takes place in a nameless country occupied by the German army at the time of World War II. In a small village there's an asylum. A squad of German soldiers arrives to take the insane people to a "walk in the forest". Just before they are ready to go to forest to kill the insane people, a Gestapo officer arrives and from his conversation with the doctor we can find out that there's an enemy agent hiding himself in the asylum. Officer Windisch must find the agent from 583 people and on his searches he is slowly starting to feel himself crazy too. close
The way home for Aleksandr Rekhviashvili is not charted in the conventional sense. It takes the viewer along some peculiar roads and across a unique landscape: more
The way home for Aleksandr Rekhviashvili is not charted in the conventional sense. It takes the viewer along some peculiar roads and across a unique landscape: Georgian history and legend, politics and social stratification, religion and ethics. Allusive, stylized and allegorical from beginning to end, his long-banned The Way Home is in part a tribute to Rekhviashvili’s favorite director, Pasolini, especially to The Hawks and the Sparrows (1966). Together with the short film Nutsa (1971) and the widely acclaimed Georgian Chronicle of the 19th Century (1979; SFIFF 1983), The Way Home closes a triptych of films that represent Rekhviashvili’s poetic contemplation of Georgia’s past. It makes extensive use of poems by Bella Akhmadulina (the major female poet of the cultural ‘thaw’ of the ’50s and ’60s and a Georgian by descent), and of sets by Amir Kakabadze. Like other films in the trilogy, The Way Home is stunningly photographed in black-and-white.--Oxymoron close
While detained in one of the Soviet Gulags (prison work camps), Maria fell in love with and had a child by one of the camp guards. However, in order to more
While detained in one of the Soviet Gulags (prison work camps), Maria fell in love with and had a child by one of the camp guards. However, in order to save her baby, she was manipulated into a situation where she had to betray her lover. The main attraction of this film is the clear depiction it gives of the harsh conditions of life in these infamous camps. close
These images and sounds are poetic metaphors that transform “Elegy from Russia” into a document that provides a emotional–historical “memory bank” for all.
These images and sounds are poetic metaphors that transform “Elegy from Russia” into a document that provides a emotional–historical “memory bank” for all. close
A group of geologists discover oil under the fields where Sosana, the aged and anachronistic father, raises his herd with his unhappy wife, her friend more
A group of geologists discover oil under the fields where Sosana, the aged and anachronistic father, raises his herd with his unhappy wife, her friend and his growing boy with whom he displays a wonderful rapport. The land is invaded by big machinery that feels remarkably alien to the serene and natural aesthetic of the valley. The family all enjoys the pleasures and storytelling capacity a slide projector grants them, but it too feels distinctly out of place in a town with no plumbing. close
When a partisan attack on a Nazi officer sets off a chain of brutal recriminations, the inhabitants of a German-occupied Ukrainian village are faced with more
When a partisan attack on a Nazi officer sets off a chain of brutal recriminations, the inhabitants of a German-occupied Ukrainian village are faced with a sickening dilemma lest they not disclose the whereabouts of the fugitives at large. close
An old man decides to find the body of his son, a Kazakh soldier who died fighting somewhere in Russia, to bury him in the land of his ancestors. Travelling more
An old man decides to find the body of his son, a Kazakh soldier who died fighting somewhere in Russia, to bury him in the land of his ancestors. Travelling across the land with his grandson, they discover the harsh reality of war. And when they finally find the coveted grave, they realise that many brothers-in-arms are buried with the soldier. Every inch of the great homeland becomes the land of our fathers, the land of the ancestors... close
The Confession (1990) survives in Parajanov: The Last Spring (1992) in its original camera negative. It remained unfinished due to the death of Sergei more
The Confession (1990) survives in Parajanov: The Last Spring (1992) in its original camera negative. It remained unfinished due to the death of Sergei Parajanov. The Confession (1990) was his favorite screenplay, which was written in the 1960s and was his film-memory of the childhood, student years, marriage, imprisonment and more as the fantasist Parajanov perceived it. Parajanov gifted the screenplay to Mikhail Vartanov, made a drawing on the cover and wrote: "The Confession will only be made by a director born in 1924 in Tiflis, Georgia." He predicted that he would not finish it. close
The way Saint Peter explains it to the Devil who's knocking on Heaven's door to collect his share of souls: there will be no more souls, as God has come more
The way Saint Peter explains it to the Devil who's knocking on Heaven's door to collect his share of souls: there will be no more souls, as God has come to doubt if humans are really meant to achieve salvation. If they aren't then how can they be punished posthumous and sent to Hell? There's only one way to make sure if sinning is the human nature, or is it that they simply don't want to better themselves - Devil himself must go down to Earth, in human form, and if he can achieve salvation then so can a human being... Based on A. H. Tammsaare's classic novel of the same name. close