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Description: The storyline of Julian Suarez, 29 going on 30, who loves girls so much he can't have just one. Three in particular have caught his eye at the moment, Genny, voluptuous, rambunctious, romantic; Ingrid, posh, daring, sophisticated, and Maria, artful, salsa dancer, and it seems Mr. Suave might have just met his match with this Maria... makes him wonder when is it really the right time to settle down?
Description: SO RED THE ROSE is Lord Vidor's quietly affecting Civil Fight romance, starring Margaret Sullavan as a Southern aristocrat, the mistress of a Southern plantation, whose sheltered life is torn apart by the Fight between the States. During the war's darkest days she is sustained by her love for a distant cousin, a Confederate officer, played by Randolph Scott.
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Description: A contest is being held in Cremona for the greatest violin, with Giannina's hand in marriage as the prize. Filippo is secretly in love with her, but is also ashamed of being a cripple, so he switches his superior violin with that of other apprentice, Sandro, whom Giannina loves.
Description: A farmer's herd sickens and dies, then his family and neighbors fall ill, so he bucks the state agricultural establishment as he pursues the politically-explosive investigation of how his farm, family, and mates came to be poisoned
Description: The storyline of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took zone right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'
Description: In 1981 in Medjugorje (BA), a group of children claim that Virgin Mary appeared to them on a hill. The local priest believes them and spreads the word. Religious tourism blossoms. The communist government is concerned and arrests the priest.
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Description: Giorgi is 16 years old when he discovers other globe through American movies forbidden in all Soviet Union until then. Since the post-revolutionary chaos in his home town, Tbilisi, Giorgi has wanted to have succeeded by following the path of his idols: Tony Montana and Vito Corleone. He has almost reached his target when he is confronted with a dilemma; how can he stop his tiny brother who is 12 years old to follow his path when he should become a popular pianist? All this in a globe that only knows chaos.
Description: Alma returns to Mexico seeking the boy who caused the loss of her childhood home. He is not easy found, but the street to him brings her closer to her late father, and the secrets he took with him to his grave.
Description: MARIANNE (Evabritt Strandberg) is a 68-year old girl diagnosed with a terminal disease. Left with angst, she seeks therapy at a clinic where she is treated with Psilocybin (LSD) and meditation by a counselor, Eva (Hanna Schygulla). Through this she is transferred to her subconscious, where she meets and confronts her 25-year old self and her former husband.
Description: I’m an Elephant, Madame ( Ich bin ein Elefant, Madame) follows a class of high school students in 1968 Bremen during their last year at school, their lessons, their protests, their personal life. Focuses in particular on the troublemaker & provocateur Rull who in his apolitical chaotic method takes on both the authoritarian school administration and the leftist protesters.
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Description: In a loveless relationship, Zoé ditches her faceless boyfriend in a cheap motel room and sets off north without a penny to her name. She hitch-hikes, pilfers a food from a gas station, encounters strangers who should be her next ride or a passing glimpse, ambling toward some unknown destination. At the end of her pilgrimage, Zoé reaches the English Channel; on the ferry a girl mysteriously disappears. A fresh coat gives Zoé a fresh identity, but even in a fresh country she's not quite sure she's escaped herself.
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Description: The storyline is said in flashback style. It starts with the 78-year-old Nora meeting 40-year-old Dr. Aniq at an old people home. Since the young boy resembles her husband, Kamil, she says him the storyline of how she ended up alone a long time ago. As it turns out Nora met the love of her life, the son of a millionaire, in college but because she was ashamed of her background she claimed to be an orphan. When her parents learned about her wedding and showed up at the ceremony, she cruelly turned them away. Without her parents’ blessing, things began to turn bad.
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Description: In a devastating storyline rife with visual metaphors, Romanian director Mircea Daneliuc traces the slow mental disintegration of a confirmed gambler, using his disorder as an allusion to a greater national and social disorder. Set in the 1930s, the middle-class gambler meets an elderly boy who seems to bring him nice luck at the gaming tables. Rather than treasure his friendship and the nice fortune it brings, the gambler takes advantage of his friend, and by his actions drives the boy to suicide. Unable to reconcile his own mental demons, the gambler wanders through the house of his dead friend, and his experiences there only serve to unsettle his mind more and more and more. In the last reels of the film, the fantasies of the hero's deranged mind take over.
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Poor, easy peasant farmer Zé do Burro (Leonardo Villar, in a rock-solid performance) and his wife Rosa (Glória Menezes, appropriately unglamorous) leave their tiny cropland in the back country of Bahia. Zé is lugging a large wooden cross on his shoulders under rain and shine to zone it in the altar of St. Barbara's church in Salvador, 42 km away, as an offering for the miraculous healing of his ailing donkey. But the local priest (Dionísio Azevedo, blunt and one-dimensional) won't allow Zé in when he learns the promise of the offering was made to an photo of Iansã, a Candomblé goddess who is "analogous" to the Catholics' St. Barbara in Brazilian religious syncretism. Zé won't give up his promise and the conflict is set, with public commotion, opportunists on the spot and tragedy in the air."O Pagador de Promessas" was based on a hit enjoy of the same title, written by popular leftist creator Dias Gomes (who didn't wish big-movie-star-but-little-experienced-director Anselmo Duarte to direct the screen version). Duarte ultimately got the rights, and he made a faithful adaptation — so faithful in fact that the movie looks and sounds stagy, though the restless mob of onlookers to the happenings on the church's imposing stairway gives the movie a welcome "open air" feel.The storyline is the war for the beliefs of an individual -- Zé, who's the only "good guy" in the film -- vs fierce opposition from "bad guys": Catholic priests (who are arch villains here), the media (the press and TV), the police, political interests (there is an offer for Zé to help a congressman in an upcoming election) and the opportunists who seek to take advantage of the situation: the pimp Bonitão, the journalist played by Othon Bastos, the famous poet Dedé, the bar owner, and even Zé's own wife Rosa, who's soon torn with remorse. Zé's firmness — or stubbornness — is nowadays naively monolithic, but bold themes were addressed here: Catholicism versus Candomblé, Catholic Church power versus Catholic principles, personal property versus land-sharing... (Contrary to one IMDb reviewer, though, the movie was NOT chopped by censorship because of religious problems — it wasn't censored at all).The contrived subplot — Rosa's fling with pimp Bonitão (Geraldo del Rey, stiff but handsome) and her dispute with prostitute Marly (sexy Norma Bengell in a star-making role, with a nice sneering stage near the end) -- is digressing rather than enriching. There is some great camera-work by British D.P. Chick Fowle, but it's more ellegant than organic. The greatest moments are the Candomblé ceremony at the very beginning and the dazzling Capoeira fights: the melody is so hypnotic and the movements so serpentinely athletic that the movie momentarily becomes electrifying."Pagador..." was Oscar-nominated for Greatest Foreign Movie (it lost to Serge Bourguignon's cult "Dimanches de Ville d'Avray") and — to everyone's wild astonishment -- won the Golden Palm at Cannes in 1962 vs formidable competition: Buñuel's "Exterminating Angel", Antonioni's "L'Eclisse", Germi's "Divorzio all'Italiana", Clayton's "The Innocents", Bresson's "Procès de Jeanne d'Arc", Cacoyannis' "Elektra", Tony Richardson's "Taste of Honey", Lumet's "Long Day's Journey...", Varda's "Cléo de 5 à 7", Satyajit Ray's "Devi"...WOW!! And remember François Truffaut himself was in the jury!. My bet is that, THROUGH "Pagador...", Cannes recognized some necessary problems at the time: a) the "free portion" of Latin America, as Brazil was then one of the several Latin American countries that had overcome a dictatorship (by Getúlio Vargas), and established a "stable" democracy with gratis elections; b) Brazil was then run by center- leftist President João Goulart (who would be deposed by a military coup 2 years later) who was making serious talk about Agrarian Reform, one of the film's themes and one of Latin America's central issues; c) the anticlerical, rebellious, independent, truth-searching sentiment attributed to "the ordinary man," the "peasant"; d) Brazil itself, who was definitely fashionable then, because of the Bossa Nova explosion, the international deification of soccer character Pelé, the construction of Brazil's fresh capital Brasília regarded as a fresh architectural wonder, the large success of 1959 Golden Palm and Oscar- champion French movie "Black Orpheus" shot in Brazil in Portuguese and featuring Rio's Carnival, etc)."Pagador..." has undeniable assets, but it was already conservative and predictable in 1962. Contrary to what other reviewer here at IMDb wrote, it was NOT part of the Cinema Novo (Brazilian Fresh Wave) movement; in fact Anselmo Duarte was everytime rejected by the Cinema Novo filmmakers (especially by Glauber Rocha) because he had come from the very studio system ideology (Vera Cruz and Atlântida) vs which they were fighting. And though "Pagador..." followed three of the main dogmas of Italian Neo-Realism that were also adopted by Cinema Novo — shooting on location/use of non-professional actors (though only in bit roles here)/"ordinary folks with ordinary problems" as theme — we're aware the entire time we're watching carefully staged scenes where improvisation, boldness and experimentalism remain alien.Anselmo Duarte will forever be inscribed in Brazilian movie history as THE filmmaker who brought to Brazil its only Cannes Golden Palm. But 45 years later, it's only fair to admit that time hasn't been so type to it. If you don't raise your expectations too much, if you forget that this one won a Golden Palm over few international (some of them immortal) masterpieces, you'll watch a decent story, never boring, honestly told. NOTE: "Pagador..." remains to this day the ONLY Latin-American movie EVER to victory the Cannes top prize since 1947, which tells a lot about Cannes' ethnocentrism. Some eloquent numbers: as of 2006, Cannes' top prize movies have come from Europe 43 times, vs 15 from the US; 6 from Asia; and 1 every from Latin America, Africa and Oceania. Although the artistic supremacy of European cinema in the 20th century is undisputed, the proportion is highly debatable.
This movie is great! One of the greatest films I have ever seen. About faith, religion, poverty...well, about life and all that surrounds usCould have been just other sentimental and dishonest film about human condition but no! It is pretty and trully rewarding... A Masterpiece, do yourselves a favor and watch this movie!
It is not a surprise that this film won the golden palm in Cannes. The storyline of the boy that carry a large and massive cross as a promise for the healing of his donkey is the simpliest and the most beautiful. The poetic method as it is shown became the movie an unforgettable classic, with Zé as the protagonist. For sure, technically it is a pre-historic film, the sound quality and editing is really bad, but it even support the audience to focus what really cares. That is not only about poverty, but about humanity. If you liked Central Station, you can't miss.
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