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Werner Schroeter mixes Stravinsky, Beethoven, Brahms, Maria Callas and Janis Joplin in this delirious biography of the doomed nineteenth-century mezzo-soprano.
Werner Schroeter mixes Stravinsky, Beethoven, Brahms, Maria Callas and Janis Joplin in this delirious biography of the doomed nineteenth-century mezzo-soprano. close
The eponymous wraith returns to Earth to aid his descendant, elderly Emily Stowecroft. The villains want to kick Emily and her friends out of their group more
The eponymous wraith returns to Earth to aid his descendant, elderly Emily Stowecroft. The villains want to kick Emily and her friends out of their group home so that they can build a crooked casino. Good guy Steve Walker gets caught in the middle of the squabble after evoking Blackbeard's ghost. close
A boozing young man in love with his co-worker finds that everyone around him, even his pompous and condescending best friend, is changing into a rhinoceros.
A boozing young man in love with his co-worker finds that everyone around him, even his pompous and condescending best friend, is changing into a rhinoceros. close
Svante is a young boy who lives with his family in a Stockholm apartment. One day he meets Karlsson, a chubby little man in the prime of his life, who more
Svante is a young boy who lives with his family in a Stockholm apartment. One day he meets Karlsson, a chubby little man in the prime of his life, who can fly using a propeller on his back and who lives in his little house on the roof. close
Here we find a group of misfits who've given up on humanity and have decided to dwell below the pavement. The group has its own hierarchy, of course, more
Here we find a group of misfits who've given up on humanity and have decided to dwell below the pavement. The group has its own hierarchy, of course, and soon the conditions that drove them underground begin to manifest themselves without the influences of the Outside World. close
This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent more
This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology. close