At the end of the war, Odysseus, the wandering hero, with his companions begins his sail back home to the Mediterranean. The conclusion of his adventure is delayed by many natural obstacles... See full summary »
Branca de Camargo,
A rhythmically edited alphabet composed of street and shop signs shot in New York City and other elements is gradually replaced by repeated seemingly abstract shots in this influential structuralist film.
The 'dreamer' is Jacques, a young painter, who by chance runs into Marthe as she's contemplating suicide on the Pont-Neuf in Paris. They talk, and agree to see each other again the next ... See full summary »
Guillaume des Forêts,
Allan visits the sinister Usher family mansion, where his friend Roderick is painting a portrait of his sickly wife Madeline. The portrait seems to be draining the life out of Madeline, slowly leading to her death.
"The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces... and suddenly it is also then, the mid '70s and the ... See full summary »
THE BLUE PLANET of Franco Piavoli is one of the great personal cinematic testaments to the beauty of planet earth. The movie has no dialog and is filled with the sounds of nature and the images of its wonders, selected in a very unique and idiosyncratic way but in a way that is more subdued than Godfrey Reggio's KOYAANISQATSI or POWAQQATSI. It casts a hypnotic spell as we watch glaciers, rushing of water, thunderstorms, the effect of wind on sand dunes, children at play, a farmer's domain. With the motif of the changing of the seasons, there are moments of everyday life love, work, sleep, and the slow but relentless passage of time. It is a symphony of nature, not a documentary, but a love-poem to the planet, and it reminds us of how much reverence we owe it. The magnificent photography was by the film's director/creator, Franco Piavoli. Veteran composer Ennio Morricone provided the music. The movie has been highly praised by many critics and filmmakers. Ermanno Olmi, Bernardo Bertolucci, and Andrei Tarkovski were particular partisans of the work. The film won a top prize at the Venice Film Festival, and was shown for over a year at one Roman theatre, the Azzurro Scipioni, which takes part of its name from the film's title. The movie had its American premiere at the Lumiere in San Francisco in 1984.
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