See L'homme de désir (1971) on youtube.
See somnambule (from "l'h on youtube.
See L’Homme Au Cerveau Greffe Fran on youtube.
See Queer Kult on youtube.
See La vie d'un honnete homme on youtube.
See Port Du Désir (Jean Gabin, And on youtube.
See The Love Garden -part 1- 1971 on youtube.
See Le Tracassin ou les plaisirs d on youtube.
See Julien Clerc - Ce n'est ri on youtube.
See sarkozy.... l'homme pressé on youtube.
Description: Not so uncommon themes of the 1960's are used as dark backdrop for a hard-nosed, personal eye/ex-con with a bone to pick with the Los Angeles police Dept. Darren McGavin plays David Ross the hired investigator to enjoy a minigame of follow the money. A easy situation of embezzling turns terrible fast when bodies begin dropping and the savvy P.I. is the basic suspect of an pretty woman's death.
Description: A young girl has to transport forward after the death of her mother and the abuse of her stepfather. She decides to be the mistress of a number of rich men. If she were to fall in love, she would hold quiet about her past. But the father of the boy she falls for was one of her former lovers.
Description: A crime organization that deals with drug trafficking discovers that more and more drugs hold disappearing. Joe Luciana, a boy who is respected for his nice deeds, appears to be responsible.
Description: Maglone and Juliette are 19. After graduating from high school, Juliette has decided to study the visual arts. She has made fresh mates whom she invited to her cottage in Normandy in order to introduce them to Maglone. “Juliette and I have known every another since the sixth grade. I don't know her squad, but... are my friend's mates also mine?”
Description: Military sounds chatter and static. Crackling voices over the ether. On a wooded street two women are driving, lost amongst the unlimited forest. The street finally runs out. ..Road Closed. Strange noises surround them, the ferns start to move, something is closing in... They are not alone in these woods.
Description: In the North Finistère, in Brittany, it’s late October, the weak season. It’s Célèste’s last day of work as a caretaker at a seaside camping ground. Just as she’s getting ready to leave, a kid disappears…
Description: An absurdist fable set in the numerous parallel realities of late-1990s Serbia. As a family disintegrates, Szabolcs Tolnai’s movie effortlessly combines melancholic ruminations on middle age with dollops of unlikely colour, rejuvenation and invisible art projects.
Description: When Karla finds out she’s a terminal patient, she decides to reconnect with Angie, a niece she hadn’t seen in ten years. Shockingly, she discovers that Angie is being treated after a suicide intent at the hospital. Karla decides to take Angie home and share with her a several days, without knowing if she can handle Angie’s panic attacks and depression, and her own mortality.
Description: Paul (Paulo Vilela), not gay assumed that shares a room with his heterosexual mate Daniel (Thierry Figueira). In the course of the plot, Paul falls in love with Daniel. Disgusted and surprised to explore the sexuality of his friend, Daniel turns away from him, which, sad and hurt, decides to confide in her greatest mate Marina (Giovanna Ewbank), which, until then, not knowing that Paul is gay, cultivates a passion for him. The storyline then goes on to mix many feelings: love, hate, prejudice and revenge.
Description: Suzanne Waters (Karen Abercrombie) has just passed the baton as the principal of the local high school. Having spent a lifetime teaching life lessons, the adventure into retirement is about to bring her one of her best lessons. Her lesson plan will come from a troubled young man, Eli, as she invests in his life. Suzanne also becomes a first-time grandmother, and the fresh life of the baby brings renewed hope to the family as every member discovers their core value in God's path for their lives. As Suzanne reflects back on her life of faithfulness, we are reminded that there are no accidents in God's Kingdom, no possibility meetings, no purposeless steps taken.
Description: Badiaga follows the guidelines of a classical tragedy. A three year old woman abandoned in a meal store is sheltered and raised by a deaf and dumb vagrant. They develop a very powerful bond. Badiaga dreams of becoming a popular singer and listens in total fascination to the artists who sing in the various cafés where she wanders. One day she has the possibility of singing on the radio a song which becomes a national hit. From that moment onwards she holds a nonstop succession of concerts. In love with her career, she refuses any romantic relations and searches desperately for her origins. This storyline was inspired by the life of Beti-Beti, a legendary Cameroon singer.
Description: In this veterans' hospice, each patient spends their last days fighting between life and death. Veterans die alone in rooms full of memories and anecdotes about fights that they fought for a country that they barely knew.
Description: A police officer (Andy Hui) and his partner (Simon Loui) receive persecuted by the local triad due to the unpaid loans of the latter. After an incident involving all of them, things receive lot worse to the mission that the two policemen gotta run for their lifes.
Description: In 1829, Claire, a 21-year-old Irish convict, chases a British soldier through the rugged Tasmanian wilderness, bent on revenge for a poor act of violence he committed vs her family. She enlists the services of an Aboriginal tracker called Billy, who is also marked by trauma from his own violence-filled past.
Description: A storyline of an young woman who tries to escape from memories of the past and while doing so she alienates herself from her family. Since she was a tiny girl, Clarissa has everytime wanted to receive out of the slums that she lives in. She has everytime been close to her rich god-mother Monina Gardamonte and to Monina's daughter, Therese. Too close in fact that she confides to her god-mother more than to her own mother, Naty and her elder sister, Nancy. Because of her closeness to her god-mother, Clarissa tasted the high life and has everytime wanted to be a part of it. When she grew up, she became more determined to be a part of high society, and Clarissa takes each occasion at all cost to achieve her desires.
Description: A girl and her family leave their fishing village after an oil spill and transport to the ghettos outside Manila. There the girl struggles to hold her family together amidst terrorism, crime and corruption, and attempts to prevent her kids from falling prey to the risky allures of the city's night life.
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This is Dominique Delouche's second effort ,after critically- acclaimed shorts and a first movie,"24 Heures De La Vie D'Une Femme ",from Zweig ,starring Danielle Darrieux .When it was released ,circa 1971,it went thoroughly unnoticed.Too ahead of its time for its own good,it probably winded up into the gay underground distribution ,which is a finished misunderstanding,for it is NOT a porno film but a psychological drama and it could have been shown at least in the art house cinema theaters.To think that the female lead,Emmanuelle Riva ,was an extremely ambitious artist ,whose career encompasses such works as "Hiroshima Mon Amour " ,"Leon Morin Pretre" ,"Thérèse Desqueyroux" and her soon days worldwide triumph "Amour" about Alzheimer's illness .The another actors remained virtually unknown ,with the exception of André Falcon ,cast as the superintendent ,who had helping parts in "mainstream" cinema.In most of the ebooks about cinema ,the film is simply (and unfairly) ignored.Shot in bleak black and white (which had become unusual in the early seventies),it says a storyline of self -destruction.Those who might wish to see it to receive an eyeful won't receive anything out of it. The only homo erotic stage shows the Young guy Rudy alias Jean ,acting like a sleepwalker , "protected" by the married boy Etienne.Sleepwalking symbolizes Rudy 's uncertain sexuality ,as he fumbles through the dark house.Etienne is married to Valentine and tells "we are satisfied " ,but the viewer notices the empty cradle ,that they never have sex together - the only sex stage in the entire film is a heterosexual one,and only Riva strips bare -,and that,although he is a very educated boy ,a writer (about German culture),he realizes his desirable mansion means a routine life ,Willy nilly.There's a gap between his bourgeois life and that of his protégé,who belongs to a package of delinquents whose leader is a strange black boy .Etienne wants to receive Rudy out of his perverse milieu ;for him,it was love at first sight when he first saw the man ,a hitchhiker on a rainy road.But the man cannot relate to his privileged globe ;devoid of culture ,he despises this bourgeois globe which represents all that he hates and (in a fully non political way) wants to destroy.The man is troubled ,Delouche shows him putting on his protector's coat (a nod to films with homosexual undertones :Clément's "Plein Soleil" and Chabrol's "Les Biches" .When Rudy makes up his mind (actually his coming out),it will be too late ,and the final pictures present him driving through the night ,heading for nowhere.These tragic last scenes are treated as a bizarre choreography,almost recalling "West side story" ,which makes sense ,for Delouche's former shorts dealt with modern dance ("Le Spectre De La Danse (1960) notably.Like this? test these....."Les Amis" (Gérard Blain,same year)"La Meilleure Façon De Marcher" (Claude Miller,1976)"L'Homme Blessé" (Patrice chéreau,1983)
This movie is of a portrait of man's desire in relation to other man. However, from a post modern mission of view, the portrait sits on a historical crossroads. A cynical appraisal of the storyline might say of a bored, married, town commuter who is tied to the conventions of an office job and a marriage that has stagnated. The commuter seeks distractions from the hum-drum of his life and makes the mistake of falling for a bit of rough trade he picks up at the street side. The more he sees of the anarchy of the hustler's life the more he lets himself go. However, everything in the movie want's you to trust in Etienne's (the town commuter) attempts not to see the case in this way, but rather to share and perceive Etienne's concepts about spiritual love and redemption from suffering. In Etienne's delusions he is a Christian character bringing salvation and peace by following the purity of his natural propensity to love. But from a Freudian perspective Etienne is a latent bi/homosexual in a state of contradictory denial and private crisis characterised by self destruction. From a post queer era perspective, current verbal reference to 'homosexuality' is noted to be almost laughably absent from the movie despite a repeated inference to a homosexual underworld which provides a nice part of the setting of the storyline as much as an explicitly declared same gender love. It's a queer (in the old sense of the word) contradiction, meaning, it is rather 'odd'. Anything gay is unmentionable and this cinematic convention towards omitting reference sets up typical devices which are left to carry any notions of 'gay' queer themes present. Devices like, the blurring of definitions, the creation of ambiguities, the muddling of religious concepts with social inferences and even ironically,the necessity of asserting a 'gay gaze' to negotiate the existence of all these devices. Perhaps the most classic of these devices is the untimely demise of the hero who embodies the taboo emotions. Sadly, this movie does show that cliché. The test of such cinematic techniques to undermine the topics to which it refers to, that is, sexuality, is nothing new, but the overt assertion of same gender love portrayed to such an obsessive degree does feel edgy and remains exciting. The movie works greatest if the audience is moved towards a state of intellectual enigmatic-ism. However moving away from this comfortable position and trying to deliever answers to questions concerning the characters' actions feels like a decidedly queer task. At the heart of the question of the love portrayed in the film, it gotta be asked, what language greatest describes what has happened and who these folks have been to every another ? This void in language is as relevant today to unfixing constraints and coming to a process of knowing as it has ever been. It's not a matter of labels but rather language. But at the same time this does not mean avoiding altogether reference to the obvious or major themes portrayed in the film.
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