tag:blogger.com,1999:blog-38141174586887852582024-03-19T10:48:07.381+00:00Notes On CinematographPersonal and general notes on "an invention without a future," and its association with other arts, here, mainly jazz and architecture.Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.comBlogger965125tag:blogger.com,1999:blog-3814117458688785258.post-46296959308494874172024-03-15T15:54:00.005+00:002024-03-15T15:55:11.200+00:00The Walls Came Tumbling Down (Lothar Mendes, 1946)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://m.media-amazon.com/images/M/MV5BYzkxYTI2ZTYtZDhmOS00ZDMwLTkxZTctN2RjYmRjMmMyMzZjXkEyXkFqcGdeQXVyMTY5Nzc4MDY@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="530" height="717" src="https://m.media-amazon.com/images/M/MV5BYzkxYTI2ZTYtZDhmOS00ZDMwLTkxZTctN2RjYmRjMmMyMzZjXkEyXkFqcGdeQXVyMTY5Nzc4MDY@._V1_.jpg" width="475" /></a></div><br /><p></p><p>The biblical title ("When the people heard the sound of the trumpet, they raised a great shout and the wall fell down." Joshua 6:20) has actually very little to do with the story of this drab and cut-rate mystery film, except its ending.<span></span></p><a name='more'></a><p></p><p>The film has a morbid opening in which the body of a priest is found in his parish where he has evidently hanged himself. Thanks to Lee Bowman's Gilbert Archer we are left wondering whether the priest was murdered over the two ancient Bibles that are only means to decode a map that would lead to a lost Da Vinci painting. However, the supposedly lost masterwork that is finally revealed is also one of the worst paintings ever sighted on film.</p><p>This was the final film directed by Lothar Mendes (1894-1974) and his only work produced by Columbia Pictures. Mendes was a Berlin-born stage actor for Max Reinhardt and got into the motion picture business in 1926 and worked as a director and writer in Germany, Austria, Britain, and Hollywood. </p><div><br /></div>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-19965145936120245382024-03-15T11:47:00.001+00:002024-03-15T11:47:19.907+00:00Something to Live For (George Stevens, 1952)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWktQP9G_cG4mEGytpE6poO8195HvUWtdS30cmkrKfUzd6rqS_2IrIzrlp-xlxhfWq7zOiEdAmcTpJDpTF5XfB5MInJ3EjgNhyphenhyphenkBN_b_f_ouu4-BF9waObDUwg37SWsq3IYLnuXo4DnATPazRhZmBwhRKaHoOa5Q8bPzSUzfgpF7eVVmrxIAF59VKUkbNE/s832/SOMETHING%20TO%20LIVE%20FOR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="832" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWktQP9G_cG4mEGytpE6poO8195HvUWtdS30cmkrKfUzd6rqS_2IrIzrlp-xlxhfWq7zOiEdAmcTpJDpTF5XfB5MInJ3EjgNhyphenhyphenkBN_b_f_ouu4-BF9waObDUwg37SWsq3IYLnuXo4DnATPazRhZmBwhRKaHoOa5Q8bPzSUzfgpF7eVVmrxIAF59VKUkbNE/w456-h345/SOMETHING%20TO%20LIVE%20FOR.jpg" width="456" /></a></div><br /><p>This one of the crowning jewels of American cinema, nearly as good as the best of Roberto Rossellini with Ingrid Bergman, is strangely one of the least known masterpieces of the 1950s.<span></span></p><a name='more'></a><p></p><p>Imagine Ray Milland’s alcoholic in The Lost Weekend rehabilitated, seasoned, married with two kids and holding down a nine-to-five job in advertising. Yet something is missing in his life, which has now come to resemble an advertisement. Serving a good cause in his spare time, when an Alcoholics Anonymous rescue call comes in, he rushes to help the troubled drinker only to discover it’s a she: Joan Fontaine as a has-been actress. He saves her, they fall for each other, she brings back the vitality to his life, which according to his own wife (played by Teresa Wright) has become far too sober. Afterwards their lives improve but the pain and loss remain. Dwight Taylor’s sensitive script, originally titled Mr and Miss Anonymous, was based on his mother, an actress and alcoholic. Stevens got on board when he was still editing A Place in the Sun.</p><p>The direction, in its accomplished sense of cluttered space, entanglement and inescapabilty, is full of artistry. The vulnerable characters are trapped in bars, hotel rooms, offices, and elevators, searching for a romance that is lost before it’s found. The romantic dream fails but the stage show with which the film ends is just beginning. Is this a triumph for artificiality and conformity? Stevens’s dark and tender film leaves you with this thought as no other film does.</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-54532127872957348142024-03-08T09:15:00.005+00:002024-03-08T09:15:49.323+00:00Anatole Litvak Retrospective at Il Cinema Ritrovato <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi29dpKD0SnHD7B9CTG_9gvl1UJvYYORpJSjYbZI0wnFvPmt0P6-oHQjtvAWoTcob0H1GadPm2-p_MtWKryeUnYOip0HnOvUGDjKsfL4JHiC64VFqyu7irI_aW6LS75QANf3QG_X1k4bQrsO-YtR6vc_S7b79M9rWI0U83r7w-GlK64eH-O08WWkNhqlHRR/s1000/anatole_litvak%20(1).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="793" data-original-width="1000" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi29dpKD0SnHD7B9CTG_9gvl1UJvYYORpJSjYbZI0wnFvPmt0P6-oHQjtvAWoTcob0H1GadPm2-p_MtWKryeUnYOip0HnOvUGDjKsfL4JHiC64VFqyu7irI_aW6LS75QANf3QG_X1k4bQrsO-YtR6vc_S7b79M9rWI0U83r7w-GlK64eH-O08WWkNhqlHRR/w467-h371/anatole_litvak%20(1).jpg" width="467" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anatole Litvak with Deborah Kerr</td></tr></tbody></table><p><b>JOURNEY INTO NIGHT: THE WORLD OF ANATOLE LITVAK</b></p><p>An unjustly overlooked master with an international career spanning six decades, Anatole Litvak made some of the most riveting and innovative films in the history of cinema that, save for a few titles, are hardly seen or discussed today. The Kyiv-born director of masterpieces such as <i><b>L’Équipage </b></i>and <i><b>City for Conquest</b></i> made films in Germany, France, UK and eventually Hollywood. This first-time overview of his dazzling career features films from all these bases of production, works that are ripe for rediscovery with their sweeping camera movements, long takes, ironic cutting, and splendid use of décor. Litvak’s films dive into a nocturnal world of flawed and unstable men and women whose identity crisis for Litvak reflects the crisis of the world between the Russian Revolution and the Second World War – a time of awakening and political turmoil that Litvak experienced first-hand.</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-26555189421596067352023-12-05T11:21:00.006+00:002023-12-05T11:21:48.379+00:00La Notte Brava (Mauro Bolognini, 1959)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio00zz7auhrSei97rVK2tovAjUKMX6bcFdriGKowU_xq2Acv4tmxVH6u0s_FHevFVuTYdOEMOWfV6ozx9dQnCwWOQLSUWRvaYXxNpbvBfLq66NCQ0sJfmKTFQ4Lim1QH6RFlJOol-dk6iJDOiv2bmbwaQKtYUeGj8cIdJ_yASv1BrHIhilmSQUXlHZU1Dr/s766/la%20notte%20brava.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="766" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio00zz7auhrSei97rVK2tovAjUKMX6bcFdriGKowU_xq2Acv4tmxVH6u0s_FHevFVuTYdOEMOWfV6ozx9dQnCwWOQLSUWRvaYXxNpbvBfLq66NCQ0sJfmKTFQ4Lim1QH6RFlJOol-dk6iJDOiv2bmbwaQKtYUeGj8cIdJ_yASv1BrHIhilmSQUXlHZU1Dr/w459-h333/la%20notte%20brava.jpg" width="459" /></a></div><br />La Notte Brava<p></p><p>Dir: Mauro Bolognini, 1959, 95 min</p><p>Playing at <a href="https://www.closeupfilmcentre.com/film_programmes/2023/never-on-sunday/the-big-night/" target="_blank">Close-Up Cinema</a> on December 30, 2023</p><p><br /></p><p>Before embarking on a career as a director, Pier Paolo Pasolini wrote the script for <i><b>La Notte Brava</b></i>. The resulting film, about three hoodlums during a day out in Rome involving burglary and hooking up with sex workers, is considered one of the classics of Italian post-war cinema and like other works by Pasolini, a film not devoid of controversy when it was originally released. Directed by talented and visionary, if unjustly underrated Mauro Bolognini who has often been described as "the most Proustian of Italian film directors", the attention to details and the direction of an international cast have remarkably translated Pasolini's world of outcasts, prostitutes, petty criminals, and downtrodden youngsters into a vivid and tough portrait of Italy at the end of the 1950s, especially a sketch of Rome and the raw characters driven by their primary instincts.</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-65344580480815970322023-10-25T23:00:00.001+00:002023-10-25T23:00:00.135+00:00Tabi’at-e Bijan [Still Life] (Sohrab Shahid Saless, 1974)<p><i><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyLYcF69znB_EZBrfZVIZsywf6Xf647LEmgvJLartir2mvBVOkLjPBRjBjNYPQudFUWbWjfBp0Kzv1fw9FUvX_MKcITXHjqYoD7_-tSAKOgEJRIS0xHh_bmHipcORtdvUHpnNY436yCjWzFV6KeRMESihLQcUw3eWZ7OJVPs43FLZuKe9AF9xz05u9oXkh/s984/still%20life%20(2).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="745" data-original-width="984" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyLYcF69znB_EZBrfZVIZsywf6Xf647LEmgvJLartir2mvBVOkLjPBRjBjNYPQudFUWbWjfBp0Kzv1fw9FUvX_MKcITXHjqYoD7_-tSAKOgEJRIS0xHh_bmHipcORtdvUHpnNY436yCjWzFV6KeRMESihLQcUw3eWZ7OJVPs43FLZuKe9AF9xz05u9oXkh/w444-h336/still%20life%20(2).jpg" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>Still Life</b></i></td></tr></tbody></table></i></p><p><i><b>Tabi'at-e Bijan</b></i> (Still Life). 1974. Iran. Written and directed by Sohrab Shahid Saless. With Zadour Bonyadi, Mohammed Kani, Hedayatollah Navid. 93 min.</p><p><b><span style="font-size: x-large;">A</span></b>n elderly railway signalman is unable to understand the meaning of “retirement” when he is handed over his retirement letter. <i><b>Still Life</b></i>, the film that shook Iranian cinema to its core and won the Silver Bear at the Berlinale, is an unforgettable, masterfully paced exercise in stillness and loneliness that doesn’t shrink from depicting exploitative tendencies within contemporary Iranian society. Shahid Saless uses the inarticulacy of his protagonist as an aesthetic strategy and finds poetry in seemingly dead moments. Made only in 11 days and shot with the painterly vision of the cinematographer Houshang Baharlou, this landmark work pushed the boundaries of cinema like no other Iranian film of the 1970s. – Ehsan Khoshbakht<span></span></p><a name='more'></a><p></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com1tag:blogger.com,1999:blog-3814117458688785258.post-17768915272990018202023-10-24T10:15:00.001+00:002023-10-24T10:15:12.294+00:00Night of the Hunchback (Farrokh Ghaffari, 1964) | MoMA<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbvgXZta0UqjRDoiSmWkzQcViHxq69miMv36aHk6lM1O6AaazbmJfuqsENWDLYxYEtkR37KVLf4r66gx2oKu90aT0tZ5-wzbAJms-CJUFBDsaEj-2Ns2DyASmSXKmz_zVA7H4tVG3x9TQ9/s400/Night_of_the_Hunchback-SHAB_E_GHUZI+_1965.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="202" data-original-width="400" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbvgXZta0UqjRDoiSmWkzQcViHxq69miMv36aHk6lM1O6AaazbmJfuqsENWDLYxYEtkR37KVLf4r66gx2oKu90aT0tZ5-wzbAJms-CJUFBDsaEj-2Ns2DyASmSXKmz_zVA7H4tVG3x9TQ9/w476-h242/Night_of_the_Hunchback-SHAB_E_GHUZI+_1965.jpg" width="476" /></a></div><br /><p><i><b>Shab-e Ghouzi </b></i>(Night of the Hunchback). 1964. Iran. Directed by Farrokh Ghaffari. Screenplay by Ghaffari, Jalal Moghadam. With Ghaffari, Pari Saberi, Paria Hakemi, Mohamad Ali Keshavarz.</p><p>Inspired by a tale in A Thousand and One Nights, this black comedy takes place over the course of one of those nights, as a troupe of traveling actors, the father of a bride, and a hairdresser and his assistant (played by director Farrokh Ghaffari himself) try to rid themselves of an unwelcome corpse while uptown Tehranis party to Ray Charles R&B. In a nod to Alfred Hitchcock’s The <i><b>Trouble with Harry</b></i>, Ghaffari, also a critic and film historian, intended this film as a critique of upper-class pretensions and an ode to simple folkloric pleasures, and while the film was a commercial flop the film nonetheless gained international attention and promised a new beginning for Iranian cinema. – Ehsan Khoshbakht</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com1tag:blogger.com,1999:blog-3814117458688785258.post-38715555859169138162023-10-16T10:27:00.008+00:002023-10-16T10:27:53.598+00:00Dayereh-ye Mina [The Cycle] (Dariush Mehrjui, 1974)<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_rwKHDwm4m4V9tVEB6IeL3MtAQ_mUOOIlm7ELsvmxzO3ym8iCPiq1lUmuDHiyPJtgPSU0A2NDVcoPkFzKJA_CVrbG_3ItGXQjVy18QcSovM-5LBQGuBjpVGlaezzzVRw7HElzRiECJqyLjl2tiQUfmy9XdzpmVMvCCPYObZpUoJAiacHDKQ7CKwcrXfA/s984/The%20Cycle%20(9).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="536" data-original-width="984" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_rwKHDwm4m4V9tVEB6IeL3MtAQ_mUOOIlm7ELsvmxzO3ym8iCPiq1lUmuDHiyPJtgPSU0A2NDVcoPkFzKJA_CVrbG_3ItGXQjVy18QcSovM-5LBQGuBjpVGlaezzzVRw7HElzRiECJqyLjl2tiQUfmy9XdzpmVMvCCPYObZpUoJAiacHDKQ7CKwcrXfA/w459-h249/The%20Cycle%20(9).jpg" width="459" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>The Cycle</b></i> (Dariush Mehrjui, 1974-76)</td></tr></tbody></table><br />Dariush Mehrjui and his wife were brutally murdered on October 14, 2023. <a href="https://www.moma.org/calendar/events/9098" target="_blank">MoMA screens</a> this film on November 1.</p><p><br /></p><p><span style="font-size: x-large;"><b>T</b></span>his harrowing tale of poverty and drug addiction in the slums, in which people desperately sell their blood to survive, is based on Gholam-Hossein Sa’dei’s short story “Garbage Dump.” Banned due to objections from the Iranian Medical Association, The Cycle was shelved for three years before it was eventually shown at the Shiraz Arts Festival. The left saw the story of the poor selling contaminated blood for injection into new veins as a metaphor for the corruption of Pahlavis. For Mehrjui, however, this was more a candid investigation of a real problem, and it eventually helped inspire the formation of the Iranian Blood Transfusion Organization. The casting of the popular filmfarsi star Forouzan was controversial, but her fine performance proved the versatility of Iranian actors. – Ehsan Khoshbakht<span></span></p><a name='more'></a><p></p><p>Dayereh-ye Mina (The Cycle). 1974. Iran. Written and directed by Dariush Mehrjui. With Saeed Kangarani, Ezzatollah Entezami, Forouzan. 35mm print courtesy Cinémathèque française. In Persian; English and French subtitles. 98 min.</p><p></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-13453107893382803402023-10-16T10:20:00.002+00:002023-10-16T10:20:22.500+00:00The Cow (Dariush Mehrjui, 1969) | MoMA<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPtMfynlet4mAcS9BAJKfIGBRug0B0gfp_rHVWMUUq0eFKiL-Hx2nGOHIbufgjrybDpRTXyg0M8GG17CMPrekfUFEw5_LX2XwgHzm8Flp5RhpMd593XA47Y6v20cC5sr6_qmKvUuIUN5-YlI_SJrJ_Vy6lKb3dHRMxc30idsOQHgwT6eQOb6A69T3sOFhO/s1200/Gaav_Dariush_Mehrjui_1969.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="878" data-original-width="1200" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPtMfynlet4mAcS9BAJKfIGBRug0B0gfp_rHVWMUUq0eFKiL-Hx2nGOHIbufgjrybDpRTXyg0M8GG17CMPrekfUFEw5_LX2XwgHzm8Flp5RhpMd593XA47Y6v20cC5sr6_qmKvUuIUN5-YlI_SJrJ_Vy6lKb3dHRMxc30idsOQHgwT6eQOb6A69T3sOFhO/w477-h349/Gaav_Dariush_Mehrjui_1969.jpg" width="477" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>The Cow</b></i> (Dariush Mehrjui, 1969)</td></tr></tbody></table><br />Dariush Mehrjui and his wife were brutally murdered on October 14, 2023. <a href="https://www.moma.org/calendar/events/9092" target="_blank">MoMA screens</a> this film on October 26.<br /><p><br /></p><p><b><span style="font-size: x-large;">T</span></b>his milestone of the Iranian New Wave portrays, with heartbreaking intensity, the themes of solitude and obsession in the story of a poor villager (unforgettably played by Ezzatolah Entezami) whose only source of joy and livelihood is his cow. When the cow is mysteriously killed one night, the metamorphosis begins. Based on short stories by psychiatrist Gholam-Hossein Sa’edi, The Cow was smuggled to the Venice Film Festival in defiance of an export ban, where it was almost immediately and internationally recognized as a masterpiece. Poignantly wrapped in layers of religion and leftist politics (two major forces of the 1979 revolution), The Cow came under the spotlight more than a decade later, when Ayatollah Khomeini hailed it as an example of “good cinema,” as opposed to the many “corrupting films” of the Pahlavi era. – Ehsan Khoshbakht</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-48380515160844380022023-09-17T14:32:00.003+00:002023-09-17T14:33:32.599+00:00Trailer for Celluloid Underground (2023)<p> </p><div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/864339969?h=f4cf0e3d45&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-48933485668910695722023-08-30T13:49:00.001+00:002023-08-30T13:49:00.132+00:00Still Life (Sohrab Shahid Saless, 1974) reviewed by John Gillet for Sight & Sound<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1tBPjZicTMccWMGoBgfrigG8vbfiC4djvVSD5Fa0PhM7giemvidSot5XHkJVJA8YnDEzHtZmHWKlc032EjkL0fvcteWmCdvKC4OI7j3orkOD3vR7foqsI_DACc_eUfB8-oOOBKSbUXmMiyNNbuZAzvzE1HXE7nVDVQ9DErEkgT14wcdGUT3thT9nNByGN/s984/still_life.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="984" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1tBPjZicTMccWMGoBgfrigG8vbfiC4djvVSD5Fa0PhM7giemvidSot5XHkJVJA8YnDEzHtZmHWKlc032EjkL0fvcteWmCdvKC4OI7j3orkOD3vR7foqsI_DACc_eUfB8-oOOBKSbUXmMiyNNbuZAzvzE1HXE7nVDVQ9DErEkgT14wcdGUT3thT9nNByGN/w466-h271/still_life.jpg" width="466" /></a></div><br /><p>Perhaps Berlin’s main achievement was to reveal the progress of the young Iranian director Sohrab Shahid Sales, with <i><b>A Simple Event </b></i>(reviewed from last year’s Tehran Festival) in the Forum and<i><b> Still Life</b></i> in competition. The new film continues his preoccupation with the lives of inarticulate people—in this case, an elderly railway signalman who receives news of his retirement with utter incomprehension— developed through lengthy scenes in which the characters are simply observed going about their daily chores. Without Sales’ extraordinary control, the result could be intolerable, but for me the film’s exact placing and timing of shots, rather like a slow symphony scored pianissimo throughout, was entirely hypnotic. <span></span></p><a name='more'></a><p></p><p>Filming in very muted colour and using a sparse. Bresson- like soundtrack of distant voices and train noises, Sales draws us into the lives of this old man and his wife with meticulous setups which alter very slightly as each ritual of eating, sleeping and preparing for the day is repeated. When the wife threads a needle, the shot is held until she docs it, and because the camera viewpoint is so revealing, it becomes a moment of high tension and meaning. Perhaps a little too hermetic and calculated at times, since the director was clearly imposing a pattern of movement and behaviour on the players, the film nevertheless spoke out with a kind of creative fervour lacking elsewhere in the competition. Although it won several awards, the Jury might have dared public disapproval and given it the Golden Bear, awarded instead to Ted Kotcheff’s overheated and facile <i><b>Apprenticeship of Duddy Kravitz</b></i>. </p><p><br /></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-73019545476102410402023-08-28T08:25:00.005+00:002023-08-28T08:25:50.526+00:00Sven Klangs kvintett (Stellan Olsson, 1976)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0rYRsiGAaZgM8SfpHNWorjhh7URZf9IKdBsVxTfaNNge2Z4wx2WnRrO8f3nvcGiYGZ1MMaZtWYgjUe7Q4K6MakLL2sRUgGUyolDbKH1uEIVLCUAqhb0ZXDg2xwHWvYxV13iGIoQpeH0cykatOK5OMNv7vcw51aaqDIqj3FvUQ19fQzLaUqu3gTAzc1cax/s933/Sven%20Klangs%20Kvintett.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="933" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0rYRsiGAaZgM8SfpHNWorjhh7URZf9IKdBsVxTfaNNge2Z4wx2WnRrO8f3nvcGiYGZ1MMaZtWYgjUe7Q4K6MakLL2sRUgGUyolDbKH1uEIVLCUAqhb0ZXDg2xwHWvYxV13iGIoQpeH0cykatOK5OMNv7vcw51aaqDIqj3FvUQ19fQzLaUqu3gTAzc1cax/w464-h288/Sven%20Klangs%20Kvintett.jpg" width="464" /></a></div><br /><p>Playing at<a href="https://www.closeupfilmcentre.com/film_programmes/2023/never-on-sunday/sven-klang-s-quintet/" target="_blank"> Close-Up Cinema</a> in London on September 24, 2023. – EK</p><p><br /></p><p>Voted by Swedish film critics as one of the "25 greatest Swedish films ever", Stellan Olsson's tender drama is based on a play by Henric Holmberg and Ninne Olsson, about the failed transformation of a dance band, formed by a group of young friends, into a proper jazz band in southern Sweden of the late 1950s. Excited by the discovery of a new musical language, they discuss Charlie Parker, and one of them, the saxophonist Lars Nilsson, goes as far as imitating his idol not only in his saxophone sound but also in his wild lifestyle. Shot in stunning black-and-white, many traces of the tableau-like compositions that Swedish cinema through figures like Roy Andersson became known for are already established here. So is the cracking humour. This gem of Swedish films is ripe for rediscovery.</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-70638527240559680042023-07-20T10:47:00.003+00:002023-07-20T10:47:42.193+00:00Tranquility in the Presence of Others (Nasser Taghvai, 1969)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikeS_gniJC928V1DeYAyr0B79XVucb0w5lCiEWoBlyVX2Kh-9eJeAn-r1399SNPBHTkjytlYMhuhLALuCR_W3999RKdF581qP_dQ_sX4B4mfXiLdLgsweWJJkq1wrLwULCjDgpD92hbovdW1Lq0cgF6Sq2eoRHbA42wOegDAFYA0mDgFyauVK5sD6_94Ak/s1024/Aramesh-dar-hozoure-digaran-(4)-(1)___frontend-16x9_1024_576.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikeS_gniJC928V1DeYAyr0B79XVucb0w5lCiEWoBlyVX2Kh-9eJeAn-r1399SNPBHTkjytlYMhuhLALuCR_W3999RKdF581qP_dQ_sX4B4mfXiLdLgsweWJJkq1wrLwULCjDgpD92hbovdW1Lq0cgF6Sq2eoRHbA42wOegDAFYA0mDgFyauVK5sD6_94Ak/w474-h267/Aramesh-dar-hozoure-digaran-(4)-(1)___frontend-16x9_1024_576.jpg" width="474" /></a></div><br /><p><span style="font-size: medium;">Tranquility in the Presence of Others</span></p><p>Nasser Taghvai, 1969, 84 min, Persian with English subtitles</p><p><br /></p><p>Often seen as one of the indispensable films of the Iranian New Wave, <b><i>Tranquility in the Presence of Others</i></b> [Aramsh Dar Hozor-e Digaran] is a poignant and brisk cinematic adaptation of a story by leftist (and later exiled and banned) writer Gholam-Hossein Saedi, attacking the indecisiveness and empty rhetoric of Iranian intellectuals, as well as dissecting the patriarchal core of Iranian society. Banned after a single screening at the Shiraz Arts Festival of 1969 – a ban which was not removed until 1973 – it tells the story of a retired army general who travels to Tehran with his newlywed wife to visit his daughters, only to observe their unhappiness and casual affairs. As his mental condition deteriorates, the film’s tone shifts from sardonic to tragic. <b><i>Tranquility in the Presence of Others </i></b>delves into the anxieties of a country that is seemingly marching forward but retains a troubled, melancholic relationship with the past. The gender and social conflicts of Saedi's story are brilliantly translated into a bleak vision of Iranian society and the confusion of the middle classes. – Ehsan Khoshbakht</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-67733391787504444192023-07-12T07:44:00.025+00:002023-07-18T14:20:42.022+00:00Il Cinema Ritrovato 2023: Favourites & Discoveries<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd1Dl2gfTIosGSRPK0wEVSfe91NwiBlOn2oPnGwwA92watOqXuKn0Rm9Y9CkbOOZuWHaYTI_3h8J9Wovlf7W8AQqUbN54yN0cBTWW71ALfAkrkLwVAcXbPPGAIsy2w1fPpaKyzEIcMLfPWscgTR4vt_wVCsBeJmPG03KHGsES6QKIW3R4tB8K7D_tl0pKq/s2048/CR-2023_25-giugno_Piazza_Bellissima-27.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd1Dl2gfTIosGSRPK0wEVSfe91NwiBlOn2oPnGwwA92watOqXuKn0Rm9Y9CkbOOZuWHaYTI_3h8J9Wovlf7W8AQqUbN54yN0cBTWW71ALfAkrkLwVAcXbPPGAIsy2w1fPpaKyzEIcMLfPWscgTR4vt_wVCsBeJmPG03KHGsES6QKIW3R4tB8K7D_tl0pKq/w486-h323/CR-2023_25-giugno_Piazza_Bellissima-27.jpg" width="486" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-size: x-large;"><b>T</b></span>he 37th edition of Il Cinema Ritrovato concluded last week but its memories live on. </p><p>In <i><b>Silk Stockings</b></i> (Rouben Mamoulian, 1957), a quintet of melancholic expats freshly returned from a seductive Paris to a drab shared apartment in Moscow start reminiscing about the joys of the high life in the French capital. Soon it turns into a competition in remembering. Getting too intense where disillusioned Marxist-Leninists accuse each other of stealing one another's memories, Ninotchka (Cyd Charisse), fervently dedicated to the equal distribution of all kinds of wealth, steps in and declares: "Comrades, there are enough memories for all of us." Judging from the range and diversity of this year's picks by festival attendees, it seems that we should not be too worried about running out of memories until next June.</p><p>Statistics tell me "120,000 spectators" have viewed "470 films [in] seven cinemas," a 12% increase in attendance compared to previous year. Feelings tell me billions of memories have been made.</p><p>Nearly 120 participants from 39 countries have picked their "favourite film" at the festival, as well as their "major discovery" this year. Some have accompanied their choices with additional notes. It's a delight to read.</p><p>See their picks below.</p><p style="text-align: center;"><b>* * *<span></span></b></p><a name='more'></a><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEGzz_ESQbnUl0e_CliR6DWp91UFCkoFM-r253q_qQz6r60OpGzbkzHDsEQwH6rpOtmE9COe5XbQnvO6uCJzy9H6y2mjm2xAV1ISLdJLwMiL5sNb3Jz-c83iw069MDZSKv8NwgaSAVyaBGwnmPMW-A6VVQ20BFCV2TaknD3RSNamsUiwI7w4m5sxkRvSG/s2048/CR_23_24-giugno_16.00_Jolly_The-Flaute-of-Krishna-1-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1366" data-original-width="2048" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEGzz_ESQbnUl0e_CliR6DWp91UFCkoFM-r253q_qQz6r60OpGzbkzHDsEQwH6rpOtmE9COe5XbQnvO6uCJzy9H6y2mjm2xAV1ISLdJLwMiL5sNb3Jz-c83iw069MDZSKv8NwgaSAVyaBGwnmPMW-A6VVQ20BFCV2TaknD3RSNamsUiwI7w4m5sxkRvSG/w450-h299/CR_23_24-giugno_16.00_Jolly_The-Flaute-of-Krishna-1-1.jpg" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Flute of Krishna (1926) playing at the Jolly</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Antti Alanen (Finland)</p><p>Absolute favourite: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p>Major discovery: <i><b>Amok</b></i> (Fedor Ozep, 1934)</p><p><br /></p><p><br /></p><p>Annouchka de Andrade (France)</p><p>Absolute favourite: <i><b>Cherike-ye Tara</b></i> [The Ballad of Tara] (Bahram Beyzaie, 1979)</p><p>Major discovery: <i><b>Cherike-ye Tara</b></i> [The Ballad of Tara] (Bahram Beyzaie, 1979)</p><p><br /></p><p><br /></p><p>Kaveh Askari (US)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) + Early Rouben Mamoulian</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Matthew Anthony Barrington (UK)</p><p>Absolute favourite: <i><b>Bellissima</b></i> (Luchino Visconti, 1951)</p><p>Major discovery: <i><b>Applause</b></i> (Rouben Mamoulian, 1929)</p><p><br /></p><p><br /></p><p>Miriam Bale (US)</p><p>Absolute favourite: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</p><p>Major discovery: <i><b>Un rêve plus long que la nuit</b></i> (Niki De Saint Phalle, 1976)</p><p><br /></p><p><br /></p><p>Cecilia Barrionuevo (Argentina/Spain)</p><p>Absolute favourite: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p>Major discovery: <i><b>Yam Daabo</b></i> (Idrissa Ouedraogo, 1987)</p><p><br /></p><p><br /></p><p>James Bell (UK)</p><p><span>Absolute favourite: </span><i style="font-weight: bold;">Black Narcissus </i><span>(Michael Powell, Emeric Pressburger, 1947)</span></p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Prosopo me prosopo</b></i> [Face to Face] (Roviros Manthoulis, 1967)</p><p><br /></p><p><br /></p><p>Janet Bergstrom (US)</p><p>Absolute favourite: <i><b>Il Grido</b></i> (Michelangelo Antonioni, 1957)</p><p>Major discovery: <i><b>Renoir, Vigo, Grémillon les éclaireurs de l'ombre</b></i> (Alain Agat, 2023)</p><p><br /></p><p><br /></p><p>Claude Bertemes (Luxembourg)</p><p>Absolute favourite: <i><b>Lady Windermere’s Fan</b></i> (Ernst Lubitsch, 1928) / Timothy Brock</p><p>Major discovery: <i><b>Ost Und West</b></i> (Sidney M. Goldin, 1923) / Donald Sosin</p><p><br /></p><p><br /></p><p>Daniel Bird (UK/France)</p><p>Absolute favourite: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974) </p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974) </p><p><br /></p><p><br /></p><p>Camille Blot-Wellens (France/Sweden)</p><p>Absolute favorite: <i><b>Kawanakajima kassen </b></i>[Battle of Kawanakajima] (Teinosuke Kinugasa, 1941)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p>Notes: I would add another category, the best screening experience(s): and then I would probably add the Scopitone session (vintage prints, joy and fun - even if we had to shorten the session because of problems with the projector).</p><p><br /></p><p><br /></p><p>Jan Bollen (Belgium)</p><p>Absolute favourite: <i><b>L’Auberge rouge</b></i> (Jean Epstein, 1923)</p><p>Major discovery: <i><b>The Plot Against Harry</b></i> (Michael Roemer, 1969-89)</p><p>Major rediscovery: <i><b>Applause</b></i> (Rouben Mamoulian, 1929)</p><p>Notes: Best archival print: Blood and Sand (Rouben Mamoulian, 1941)</p><p><br /></p><p><br /></p><p>Guillaume Boure (France)</p><p>Absolute favourite: <i><b>The Celluloid Closet </b></i>(Rob Epstein, Jeffrey Friedman, 1996)</p><p>Major Discovery: <i><b>Smog</b></i> (Franco Rossi, 1962)</p><p><br /></p><p><br /></p><p>Lou Burkart (Germany/France)</p><p>Absolute favourite: <i><b>Queen Christina</b></i> (Rouben Mamoulian, 1933)</p><p>Major discovery: <i><b>Miss Dorothy</b></i> (Giulio Antamoro, 1920)</p><p><br /></p><p><br /></p><p>Benoît Carpentier (France)</p><p>Absolute favourite: <i><b>La Voix du Rossignol</b></i> (Ladislas Starewitch, 1923) + <i><b>Silk Stockings </b></i>(Rouben Mamoulian, 1957)</p><p>Major discovery: <b style="font-style: italic;">Chromo Sud </b>(Etienne O'Leary, 1968) + <i><b>Rat Life and Diet in North America</b></i> (Joyce Wieland, 1969)</p><p>Notes: aesthetic shock / fun shock</p><p><br /></p><p><br /></p><p>Flurin Casura (Switzerland)</p><p>Absolute favourite: <i><b>Kurutta Ichipeiji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p>Major discovery: <i><b>Gharibeh va Me</b></i>h [The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Layla Wa Zi'ab</b></i> [Leila and the Wolves] (Heiny Srour, 1984)</p><p><br /></p><p><br /></p><p>Mohamed Challouf (Tunisia)</p><p>Absolute favourite: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971) + <i><b>Man's Castle</b></i> (Frank Borzage, 1931)</p><p><br /></p><p><br /></p><p>Peter Christian Rude (Denmark)</p><p>Absolute favourite: <i><b>Ladri di biciclette </b></i>(Vittorio De Sica, 1948)</p><p>Major discovery: <i><b>Daibutsu kaigen</b></i> [Dedication of the Great Buddha] (Teinosuke Kinugasa, 1953)</p><p>Notes: At this year’s Il Cinema Ritrovato, I had the great pleasure to revisit a classic I had not seen in the past plus ten years or so, when I first began digging my way through film history as a young cinephile hungry for new impressions: ‘Bicycle Thieves’. Watching it in a newly restored version, in Italy, on the very first day of the festival, together with a large audience, made me feel very lucky. The screening of ‘Dedication of the Great Buddha’ was my introduction to Teinosuke Kinugasa – what a film! Art, labour, spirituality… At times, it reminded me of ‘Andrei Rublev’. </p><p><br /></p><p><br /></p><p>Phil Clark (UK)</p><p>Absolute favourite: <i><b>Suspect </b></i>(Robert Siodmak, 1944)</p><p>Major Discovery: <i><b>The Mark of Zorro</b></i> (Rouben Mamoulian, 1940) + <i><b>Rings on Her Fingers</b></i> (Rouben Mamoulian, 1942) </p><p><br /></p><p><br /></p><p>Jo Comino (UK)</p><p>Absolute favourite: <i><b>La Captive</b></i> (Chantal Akerman, 2000)</p><p>Major Discovery: <i><b>Bushman </b></i>(David Schickele, 1971) + <i><b>Down and Out in America</b></i> (Lee Grant, 1986)</p><p><br /></p><p><br /></p><p>Philip Concannon (UK)</p><p>Absolute favourite: <i><b>Ahlam el-madina</b></i> (Mohammad Malas, 1984)</p><p>Major discovery: <i><b>We Live Again </b></i>(Rouben Mamoulian, 1934)</p><p><br /></p><p><br /></p><p>Mark Cosgrove (UK)</p><p>Absolute favourite: <i><b>Classe Tous Risques </b></i>(Claude Sautet, 1960)</p><p>Major Discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Emilie Cauquy (France)</p><p>Absolute favourite: <i><b>Nella città l'inferno</b></i> (Renato Castellani, 1959)</p><p>Major discovery: <i><b>Cherike-ye Tara</b></i> [The Ballad of Tara] (Bahram Beyzaie, 1979)</p><p><br /></p><p><br /></p><p>Ian Christie (UK)</p><p>Absolute favourite: <i style="font-weight: bold;">Bellissima </i>(Luchino Visconti, 1951)</p><p>Major discovery: <i><b>La maison du mystère</b></i> (Alexandre Volkoff, 1923)</p><p>Notes: [Also] reactions to the early Powells and teh astonishing 3D of I, the Jury.</p><p><br /></p><p><br /></p><p>Lorenzo Codelli (Italy)</p><p>Absolute favourite: <i><b>Stornellata Romana</b></i> (Pietro Francisci, 1947)</p><p>Major discovery: Hermann Kosterlitz</p><p><br /></p><p><br /></p><p>Francesco Crispino (Italy)</p><p>Absolute favourite: <i><b>Classe Tous Risques </b></i>(Claude Sautet, 1960)</p><p>Major discovery: <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p><br /></p><p><br /></p><p>Paola Cristalli (Italy)</p><p>Absolute favourite: <i><b>One Way Passage</b></i> (Tay Garnett, 1932) + <i><b>Love Me Tonight</b></i> (Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Applause</b></i> (Rouben Mamoulian, 1929)</p><p>Major rediscovery: <i><b>The Woman on the Beach</b></i> (Jean Renoir, 1947)</p><p>Notes: Major better-than-I-remembered: The Golden Boy | Major decadent satisfaction: Wearing Narcisse noir (Ernest Daltroff pour Caron, 1911) at the screening of Black Narcissus.</p><p><br /></p><p><br /></p><p>Paolo D’Andrea (Italy)</p><p>Absolute favourite: <i><b>Bellissima</b></i> (Luchino Visconti, 1951)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Senem Erdine (Turkey)</p><p>Absolute favourite: <i><b>Il Grido</b></i> (Michelangelo Antonioni, 1957)</p><p>Major discovery: <i><b>Yam Daabo</b></i> (Idrissa Ouedraogo, 1987)</p><p><br /></p><p><br /></p><p>Bernard Eisenschitz (France)</p><p>Absolute favorite: <i><b>Il Grido</b></i> (Michelangelo Antonioni, 1957)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p>Notes: In spite of efforts on all sides to open up on new nations and neglected side streets of history, I would say the postwar Italian cinema, scattered as it was among subprograms, dominated this edition. And the best surprise was The Stranger and the Fog, no matter how unsatisfactory I found that overambitious film, but even so, for the appreciation of Bahram Beyzai as a first-rate director (after seeing only one other title, and that one years ago, Bashu the Little Stranger, and discovering - a few days ago - a nice debut short, Ammo Sibilou).</p><p><br /></p><p><br /></p><p>Lukas Foerster (Germany)</p><p>Absolute favourite: <i><b>Love Me Tonight</b></i> (Rouben Mamoulian, 1932)</p><p>Major discovery:<i><b> Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano</b></i> (Luigi Comencini, 1969)</p><p>Notes: [Of Love Me Tonight] only the censored version survives ... I probably will forever fantasize about what the 15 minutes longer original release version might have looked like. Favorite film print: Photochemical restoration of The Woman on the Beach (Jean Renoir), Library of Congress 35mm print. To think that all restorations could look as beautiful and rich and above all alive as this one. Pains the heart.</p><p><br /></p><p><br /></p><p>Geoff Gardner (Australia)</p><p>Absolute favourite: <i><b>Tire au flanc </b></i>(Jean Renoir, 1928) + <i><b>The Golden Coach</b></i> (Jean Renoir, 1952) </p><p>Major discovery: <i><b>Aloise</b></i> (Liliane de Kermadec, 1975)</p><p><br /></p><p><br /></p><p>Sara Gazini (Brazil/UK)</p><p>Absolute favourite: <i><b>Love Me Tonight </b></i>(Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Ahlam el-madina</b></i> (Mohammad Malas, 1984)</p><p><br /></p><p><br /></p><p>Valerio Greco (Italy)</p><p>Absolute favourite: <i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p>Major rediscovery: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</p><p>Notes: I was very moved by the rediscovery of the origins of Tunisian cinema by Albert Samama-Chikli, Wim Wenders' introduction to Yasujirō Ozu's incredibly well-made gangster film Dragnet Girl / Hijosen no onna (1933), the unpredictable avalanche of revelations in 16mm format (notably the home movie versions of Universal horror classics) organised by Cinémathèque16, the brand new restorations of the Dada-Surrealist films by the artist Man Ray and the must-see serial La maison du mystère (1923). Also, I would like to mark the Film Heritage Foundation's brilliant restoration of the tragic Ishanou (1990) by Ribam Syam Sharma, the programme of Russian Divas in Italy, the fun experience with the broken glasses of One Way Passage (1932) and the final dance on the tune of Scopitones' compilation of French songs from the 1960s.</p><p><br /></p><p><br /></p><p>Mania Gregorian (Italy)</p><p>Absolute favourite: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Lady Windermere’s Fan</b></i> (Ernst Lubitsch, 1928)</p><p>Major discovery: <i><b>Surprise </b></i>(Dave Fleischer, 1923)</p><p><br /></p><p><br /></p><p>Matthieu Grimault (France)</p><p>Absolute favourite: <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p>Major discoveries: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) + <i><b>Yukinojô henge: Daiippen dainihen</b></i> [An Actor's Revenge] (Teinosuke Kinugasa, 1935)</p><p><br /></p><p><br /></p><p>André Habib (Canada)</p><p>Absolute favorite: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Quién sabe?</b></i> (Damiano Damiani, 1966)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Oliver Hanley (Germany)</p><p>Absolute favourite: <i><b>Ball im Savoy</b></i> (Steve Sekely, 1935)<br /><br />Major discovery: <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p><br /></p><p><br /></p><p>Suvi Heino (Finland)</p><p>Absolute favourite: <i><b>Nothing But a Man</b></i> (Michael Roemer, 1964)</p><p>Major discovery: <i><b>Layla wa zi'ab</b></i> (Heiny Srour, 1984)</p><p><br /></p><p><br /></p><p>Liz Helfgott (US)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Major discovery: <i><b>Peter </b></i>(Hermann Kosterlitz, 1934) and magnificent star Franziska Gaal</p><p>Notes: Most blissful screening experience: Love Me Tonight (Rouben Mamoulian). 2nd most blissful screening experience: Stella Dallas (Henry King) in the piazza. More major discoveries (sorry, I can't help myself!): two by Bahram Beyzaie, Gharibeh va meh [The Stranger and the Fog] and Cherike-ye Tara [The Ballad of Tara] and Aloïse (Liliane de Kermadec)</p><p><br /></p><p><br /></p><p>Maggie Hennefeld (US)</p><p>Absolute favourite: <i><b>Applause</b></i> (Rouben Mamoulian, 1929)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p>Notes: Page of Madness, Leila and the Wolves, Nella Citta L'Inferno, Dulac's illustrated songs, and Patouillard a une femme jalouse were also major highlights! Plus there were the many must-see screenings I missed, which sadly included Cherike-ye Tara and Peter.</p><div><br /></div><div><br /></div><p>Alexander Horwath (Austria)</p><p>Absolute favourite: <i><b>Hijōsen no Onna</b></i> [Dragnet Girl] (Yasujirō Ozu, 1933)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p>Notes: Absolute favourite plus: IL GRIDO / CEDDO / ONE WAY PASSAGE / CHERIKE-YE TARA / LE CARROSSE D’OR / ROMEO UND JULIA AUF DEM DORFE / APPLAUSE / GREMLINS. Major discovery plus: PANORAMA OF TIVOLI, SHOWING SEVEN FALLS (USA 1903, Edison Co.) / QUIÉN SABE / AL-MAKHDU’UN / ALOÏSE / KING OF COINS (UK 1903, Alf Collins) / IL DONO.</p><p><br /></p><p><br /></p><p>Pamela Hutchinson (UK)</p><p>Absolute favourite: <a href="https://festival.ilcinemaritrovato.it/en/proiezione/ritrovati-e-restaurati-dischi-illustrati/" target="_blank">Illustrated Records</a> (Germaine Dulac, 1930)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Alexander Jacoby (UK)</p><p>Absolute favourite: <i><b>Il Ferroviere</b></i> (Pietro Germi, 1956) + <i><b>Die letzte Chance</b></i> (Leopold Lindtberg, 1945)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) </p><p><br /></p><p><br /></p><p>Nick James (UK)</p><p>Absolute favourite: <i><b>Love Me Tonight </b></i>(Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Shirasagi </b></i>(Teinosuke Kinugasa, 1958)</p><p><br /></p><p><br /></p><p>Maria João Madeira (Portugal)</p><p>Absolute favourite: <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Alo Jõekalda (Estonia/Japan)</p><p>Absolute favourite: <i><b>Il Ferroviere</b></i> (Pietro Germi, 1956)</p><p>Major discovery: <i><b>Zündhölzer </b></i>(Uwe Krauss, Peter Gehric, 1960)</p><p><br /></p><p><br /></p><p>Paul Joyce (UK)</p><p>Absolute favourite: <i><b>Lady Windermere’s Fan</b></i> (Ernst Lubitsch, 1928) </p><p>Major discovery: <i><b>Miss Dorothy</b></i> (Giulio Antamoro, 1920)</p><p>Notes: Ernst Lubitsch’s take on Oscar Wilde’s play as presented in the Teatro Auditorium Manzoni an auditorium with splendid acoustics, all the better to experience the power of Timothy Brock’s new score as conducted by him and played by the mighty Orchestra del Teatro Comunale di Bologna. [Major discovery] one of four films, including three new discoveries, covering the Russian/Polish actress' early career, three from Italy in diva style!</p><p><br /></p><p><br /></p><p>Austė Jucytė (Lithuania)</p><p>Absolute favourite: <i><b>Queen Christina</b></i> (Rouben Mamoulian, 1933)</p><p>Major discoveries: Four Pathé films: <i><b>En Irlande: Excursion à Killarney</b></i> (Camille Legrand, 1908) + <i><b>L’Enfant des mariniers</b></i> (1907) + <i><b>L’Enlisé du Mont-Saint-Michel </b></i>(1908) + <i><b>Puericultura</b></i> (1910)</p><p><br /></p><p><br /></p><p>Nakanishi Kanako (Japan)</p><p>Absolute favourite: <i><b>Ich denke oft an Hawaii</b></i> (Elfi Mikesch, 1978)</p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Daniel Kasman (US)</p><p>Absolute favourite: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p>Major discoveries: <i><b>La souriante Madame Beudet</b></i> (Germaine Dulac, 1923) + <i><b>Time of the Heathen</b></i> (Peter Kass, 1961) + <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Triinu Keedus (Estonia)</p><p>Absolute favourite: <i><b>Classe Tous Risques </b></i>(Claude Sautet, 1960)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) </p><p><br /></p><p><br /></p><p>Nerina T. Kocjancic (Slovenia)</p><p>Absolute favourite: <i><b>Il Grido</b></i> (Michelangelo Antonioni, 1957)</p><p>Major discovery: <i><b>Cross of Iron</b></i> (Sam Peckinpah, 1977)</p><p><br /></p><p><br /></p><p>Martin Koerber (Germany)</p><p>Absolute favourite: <i><b>Was soll'n wir denn machen ohne den Tod</b></i> (Elfi Mikesch, 1980)</p><p>Major discovery: <i><b>The Edge of the World</b></i> (Michael Powell, 1937)</p><p><br /></p><p><br /></p><p>Bob Krijger (Netherlands)</p><p>Absolute favourite: <i><b>Le Brasier Ardent </b></i>(Ivan Mozzhukhin, 1923) </p><p>Major discovery: <i><b>Wo Ist Coletti?</b></i> (Max Mack, 1913)</p><p>Notes: Le Brasier Ardent I was my favourite because of the eerie dream scenes in the beginning especially with the accompanying music of Maud Nellissen (I think I'm becoming a fan of her). Wo Ist Colletti? I've chosen as my discovery because I did come across my Max Mack during my research, but I never saw a film of him and I didn't know he was that big. I love these 1910's action films.</p><p><br /></p><p><br /></p><p>Otto Kylmälä (Finland)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Major discovery: <i><b>Il Dono</b></i> (Michelangelo Frammartino, 2003) + <i><b>The Plot Against Harry</b></i> (Michael Roemer, 1969-89)</p><p><br /></p><p><br /></p><p>Massoumeh Lahidji (France/Iran)</p><p>Absolute favourite: <i><b>Bellissima</b></i> (Luchino Visconti, 1951)</p><p>Major discovery: <i><b>Blood and Sand</b></i> (Rouben Mamoulian, 1941)</p><p><br /></p><p><br /></p><p>Manuela Lazic (UK)</p><p>Absolute favourite: <i><b>Dr. Jekyll and Mr. Hyde</b></i> (Rouben Mamoulian, 1931)</p><p>Major discovery: <i><b>Man's Castle</b></i> (Frank Borzage, 1931)</p><p>Notes: The Mamoulian strand was just a delight – to see someone work across so many genres and still manage to have a clear and distinctive voice shine through was so exciting! Mamoulian's playfulness in Dr Jekyll & Mr Hyde is particularly striking; the darkest moments are peppered with visual wit and the emotional depth and complexity of what Stevenson was exploring is made very clear. As for Man's Castle, rarely have I seen such a devastating depiction of a man too hardened by life to really live it. Spencer Tracy is at once terrifying and so compelling, much more interesting than either a likeable or an unlikeable character – a broken man.</p><p><br /></p><p><br /></p><p>Albert Lee (Hong Kong)</p><p>Absolute favourite: <i><b>Blood and Sand</b></i> (Rouben Mamoulian, 1941)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Samantha Leroy (France)</p><p>Absolute favourite: <i><b>Schatten </b></i>(Arthur Robison, 1923)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Ross Lipman (US)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) </p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) </p><p>Notes: Al-Makhdu'un [is] simply an overpowering work that could have been ripped from today's headlines - save that it was made fifty years ago. But if I can extend the "favorite" category to include presentations, I'd like to single out the "City of Smog: Los Angeles in 1962" panel. I love good illustrated lectures, and Luca Celada masterfully prised out the history informing Rosi's gem in a talk that could well be viewed as a coda to Los Angeles Plays Itself, which May HaDuong then brilliantly countered with altering views of the city unsuggested in Smog's tantalizingly subjective view of the city. Together (along with Alberto Gemmi, who contributed a brief restoration overview) they created a panel that was almost a film in itself, and as compelling as the film that inspired them.</p><p><br /></p><p><br /></p><p>Johannes Lõhmus (Estonia)</p><p>Absolute favourite: <i><b>Prosopo me prosopo</b></i> [Face to Face] (Roviros Manthoulis, 1967)</p><p>Major discovery: <i><b>Layla wa zi'ab</b></i> (Heiny Srour, 1984)</p><p><br /></p><p><br /></p><p>Jonathan Mackris (US)</p><p>Absolute Favorite: <i><b>Nothing But a Man</b></i> (Michael Roemer, 1964)</p><p>Major discovery: <i><b>Katherina, die Letzte </b></i>(Hermann Kosterlitz, 1936)</p><p><br /></p><p><br /></p><p>Neil McGlone (UK)</p><p>Absolute favourite: <i><b>Il Grido</b></i> (Michelangelo Antonioni, 1957)</p><p>Major discovery: <i><b>Prosopo me prosopo</b></i> [Face to Face] (Roviros Manthoulis, 1967)</p><p><br /></p><p><br /></p><p>Brian Meacham (US)</p><p>Absolute favorite: <i><b>Silk Stockings</b></i> (Rouben Mamoulian, 1957)</p><p>Major discovery: <i><b>La maison du mystère</b></i> (Alexandre Volkoff, 1923)</p><p>Notes: [On SILK STOCKINGS] Along with the rest of the Mamoulian strand, this witty, knowing, and underrated musical was a delight to see, especially in such a gorgeous print. Watching Astaire so at ease as the decadent American, and knowing that under that Soviet cloak, Cyd Charisse was just waiting to strut her stuff, made the whole thing an utter pleasure. [On LA MAISON DU MYSTERE] The daily ritual of a 30-40 minute episode of this serial was an unexpected treat. Beyond providing a setting for upstanding Ivan Mosjoukine and villainous young Charles Vanel go head to head, the films are filled with unbelievable stunts, stunning cinematography, and for me, the most potent emotional moments of any film in the festival.</p><p><br /></p><p><br /></p><p>Lidia Merás (Spain)</p><p>Absolute favourite: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Paolo Mereghetti (Italy)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Major discovery: <i><b>Nothing But a Man</b></i> (Michael Roemer, 1964)</p><p><br /></p><p><br /></p><p>Hind Mezaina (UAE)</p><p>Absolute favourite: <i><b>Black Narcissus </b></i>(Michael Powell, Emeric Pressburger, 1947)</p><p>Major discovery: <i><b>Queen Christina</b></i> (Rouben Mamoulian, 1933)</p><p><br /></p><p><br /></p><p>Daniela Michel (Mexico)</p><p>Absolute favourite: <i><b>Love Me Tonight</b></i> (Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Saskia Mollen (Netherlands)</p><p>Absolute favourite: <i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Olaf Möller (Germany/Finland)</p><p>Absolute favourite: <i><b>Yōsō </b></i>(Kinugasa Teinosuke, 1963) + <i><b>Die letzte Chance</b></i> (Leopold Lindtberg, 1945)</p><p>Major discovery: <i><b>Tant que s'illuminera l'animal stratifié</b></i> (Jean Lafleur & Robert Desrosiers, 1965)</p><p><br /></p><p><br /></p><p>Ian Mantgani (Ireland/UK)</p><p>Absolute favourite: <i><b>Stella Dallas </b></i>(Henry King, 1925)</p><p>Major discovery: <i><b>The Plot Against Harry </b></i>(Michael Roemer, 1969-89) + <i><b>We Live Again </b></i>(Rouben Mamoulian, 1934)</p><p>Notes: Cinema Ritrovato is such a dazzling embarrassment of riches that it almost feels insulting to the programme to single anything out. Henry King’s emotionally eviscerating version of Stella Dallas, seen in the majestic Piazza Maggiore with a responsive, sensitive new score by Stephen Horne was the screening that led me and those I spoke with to the greatest floods of tears.</p><p>The Plot Against Harry was a film I’d never heard of, and a terrific post-noir, pre-Scorsese chronicle of ethnic gangland New York with a pioneering combination of largesse, documentary detail, pathos and wry wit. There were many delightful Mamoulian pictures in the strand devoted to that director, but We Live Again took me the most by surprise - a classic Hollywood adaptation of Tolstoy that threatened to be corny in its opening moments and unfolded as a profoundly moving parable of values and consequence.</p><p>On a personal note, let me just say that Bologna is a place where cinema miracles of all shapes and sizes happen, and my greatest one this time around was as follows: I happened to be testing the DCP of my new short film at an off-festival venue, the Theatro Cinema Medica, and none other than master director Joe Dante, in town for his Ritrovato duties, was gracious enough to stop by. Truly special.</p><p><br /></p><p><br /></p><p>Chiara Marañón (Spain)</p><p>Absolute favourite: <i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Jack Miller (US)</p><p>Absolute favorite: <i><b>The Woman on the Beach</b></i> (Jean Renoir, 1947)</p><p>Major discovery: <i><b>Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano</b></i> (Luigi Comencini, 1969)</p><p><br /></p><p><br /></p><p>Anabela Moutinho (Portugal)</p><p>Absolute favourite:<b> </b><i><b>We Live Again </b></i>(Rouben Mamoulian, 1934)</p><p>Major discovery: <i><b>Capelli Biondi</b></i> (1919)</p><p><br /></p><p><br /></p><p>Mosa Mpetha (UK)</p><p>Absolute favourite: <i style="font-weight: bold;">Black Narcissus </i><span>(Michael Powell, Emeric Pressburger, 1947)</span></p><p>Major discovery: <a href="https://festival.ilcinemaritrovato.it/en/evento/african-archives-what-next/" target="_blank">African Archives: What Next? </a></p><p><br /></p><p><br /></p><p>Dominique Nasta (Belgium)</p><p>Absolute favourite: <i><b>Amok</b></i> (Fedor Ozep, 1934)</p><p>Major discovery: <i><b>Prosopo me prosopo</b></i> [Face to Face] (Roviros Manthoulis, 1967)</p><p><br /></p><p><br /></p><p>Elliot Newton (UK)</p><p>Absolute favourite: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Carlos Nogueira (Portugal)</p><p>Absolute favourite: <i><b>Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano</b></i> (Luigi Comencini, 1969)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Vincent Paul-Boncour (France)</p><p>Absolute favourite: <i><b>Hijōsen no Onna</b></i> [Dragnet Girl] (Yasujirō Ozu, 1933)</p><p>Major discovery: <i><b>Time of the Heathen</b></i> (Peter Kass, 1961)</p><p><br /></p><p><br /></p><p>Michał Pieńkowski (Poland)</p><p>Absolute favourite: <i><b>La Sorelle Bartels</b></i> (1910)</p><p>Major discovery: <i><b>Hotel Splendide</b></i> (Michael Powell, 1932)</p><div><br /></div><div><br /></div><p><br /></p><p>Sabina Pujol (Spain)</p><p>Absolute favourite: <i><b>Cherike-ye Tara</b></i> [The Ballad of Tara] (Bahram Beyzaie, 1979)</p><p>Major discovery: <i><b>The Movie Orgy</b></i> (Joe Dante, 1968)</p><p><br /></p><p><br /></p><p>Rym Ouartsi (France)</p><p>Absolute favourite: <i><b>Silk Stockings</b></i> (Rouben Mamoulian, 1957)</p><p>Major discovery: <i><b>Al-Makhdu'un </b></i>[The Dupes] (Tewfik Saleh, 1972)</p><p>Notes: Other favourites are Nella città l'inferno (Renato Castellani, 1959) and La fuga di Socrate (Guido Brignone, 1923)</p><p><br /></p><p><br /></p><p>Esteve Riambau (Spain)</p><p>Absolute favourite: <i><b>Rings on Her Fingers</b></i> (Rouben Mamoulian, 1942)</p><p>Major discovery: <i><b>La contessa azzurra</b></i> (Claudio Gora,1960)</p><p><br /></p><p><br /></p><p>Paul Ridd (UK)</p><p>Absolute favourite: <i><b>Silk Stockings</b></i> (Rouben Mamoulian, 1957)</p><p>Major discovery: <i><b>Time of the Heathen</b></i> (Peter Kass, 1961)</p><p>Notes: Hugo Fregonese last year, Rouben Mamoulian this year. What a thrill it was to fully immerse myself in the work of a forgotten genius of Old Hollywood at Cinema Ritrovato. Astonishing to see his sheer genre versatility and love of cinematic colour, sensuality and formal swagger expressed over decades of diverse work. All these films were just a joy to behold. And in between, seeing films from the last hundred years plus of world cinema, including the mind-blowing psychedelic thriller TIME OF THE HEATHEN, a tonne of silent films and everything in between. It's such a special place to be. Long may it continue.</p><p><br /></p><p><br /></p><p>Elif Rongen-Kaynakçi (Netherlands/Turkey)</p><p>Absolute favourite: <i><b>Katherina, die Letzte </b></i>(Hermann Kosterlitz, 1936) + <i><b>Peter </b></i>(Hermann Kosterlitz, 1934)</p><p>Major discovery: <i><b>L'ombra</b></i> (Mario Almirante, 1923)</p><p>Notes: Franziska Gaal in Peter & Katharina, die Letzte [both by Herman Kosterlitz]. I’d also like to mention Yam Daabo (Idrissa Ouédraogo) and La Valse Excentrique (1903).</p><p><br /></p><p><br /></p><p>Jonathan Rosenbaum (US)</p><p>Absolute favourite: <i><b>Man's Castle</b></i> (Frank Borzage, 1931) + <i><b>Queen Christina</b></i> (Rouben Mamoulian, 1933)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Giulia Saccogna (UK/Italy)</p><p>Absolute favourite: <i><b>Bushman </b></i>(David Schickele, 1971) + <i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) + <i style="font-weight: bold;">Prosopo me prosopo </i><span>[Face to Face]</span><i style="font-weight: bold;"> </i>(Roviros Manthoulis, 1967)</p><p><br /></p><p><br /></p><p>Eva Sangiorgi (Italy/Austria)</p><p>Absolute favorite: <i><b>City Streets</b></i> (Rouben Mamoulian, 1931)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p><br /></p><p><br /></p><p>Aboubakar Sanogo (Burkina Faso/Canada)</p><p>Absolute favorite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Major discovery: <i><b>Gharibeh va Meh </b></i>[The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p>Notes: [Other major discovery] Germaine Dulac's proto music videos.</p><p><br /></p><p><br /></p><p>Regina Schlagnitweit (Austria)</p><p>Absolute favourite: <i><b>Classe Tous Risques </b></i>(Claude Sautet, 1960)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971)</p><p>Major rediscovery: <i><b>Hijōsen no Onna</b></i> [Dragnet Girl] (Yasujirō Ozu, 1933)</p><p><br /></p><p><br /></p><p>Beat Schneider (Switzerland)</p><p>Absolute favourite: <i><b>Love Me Tonight </b></i>(Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) + <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p><br /></p><p><br /></p><p>Nuno Sena (Portugal)</p><p>Absolute favourite: <i><b>City Streets</b></i> (Rouben Mamoulian, 1931)</p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Anupma Shanker (UK)</p><p>Absolute favourite: <i><b>Ceddo </b></i>(Ousmane Sembène, 1977)</p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Tamara Shvediuk (Russia)</p><p>Absolute favourite: <i><b>The Marriage Circle</b></i> (Ernst Lubitsch, 1924)</p><p>Major discovery: <i><b>Les Contes des Milles et une nuits</b></i> (Viatcheslav Tourjansky, 1921)</p><p><br /></p><p><br /></p><p>Josh Siegel (US)</p><p>Absolute favourite: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Cherike-ye Tara</b></i> [The Ballad of Tara) (Bahram Beyzaie, 1979)</p><p>Major discovery: <i><b>Bushman </b></i>(David Schickele, 1971) + <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Francesco Simeoni (UK)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Notes: My top film and discovery were one and the same this year: The Dupes. A remarkable film, like The Battle of Algiers by way of The Wages of Fear. Timely, urgent and heartbreaking cinema.</p><p><br /></p><p><br /></p><p>Farran Smith Nehme (US)</p><p>Absolute favourite: <i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p>Major discovery: <i><b>Cry, the Beloved Country</b></i> (Zoltan Korda, 1951)</p><p><br /></p><div><br /></div><div><div>Gerdien Smit (Netherlands)</div><div><br /></div><div>Absolute favourite: <i><b>Nothing But a Man</b></i> (Michael Roemer, 1964)</div><div><br /></div><div>Major discovery: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</div></div><div><br /></div><div><br /></div><div><br /></div><p>Imogen Sara Smith (US)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972) </p><p>Major discovery: <i><b>Cherike-ye Tara</b></i> [The Ballad of Tara) (Bahram Beyzaie, 1979)</p><p>Notes: Even more than in past editions, nearly all the films I saw this year were completely new to me. I was stunned by The Dupes, with its ruthless shift from lyrical impressionism to stripped-down nerve-shredding suspense, and by the otherworldly, impassioned visions of the Beyzaie films. Among my other favorite were a wealth of feminist and women-centered films: the brilliant, harrowing Aloise; the warm humanist comedy Speriamo che sia femmina; and the great women’s-prison drama Nella citta l’inferno, with Magnani at her Magnaniest. The “woman’s film” was exalted in Stella Dallas, and I relished weeping in the piazza with my friends. I saw almost all of the German exile comedies—Peter was the highlight, with the magnificent Franziska Gaal—and they reminded me of John Lahr’s remark about the importance of frivolity as a defiance of suffering. I allowed myself just one old favorite, One Way Passage, which revealed its visual elegance, wit, and gallant spirit anew in a beautiful restoration. It was my last screening, and a perfect one: as Kay Francis says of a Paradise cocktail, “Always the most precious, the last few drops.” </p><p><br /></p><p><br /></p><p>Pauline Soh (Singapore)</p><p>Absolute favourite: <i><b>Biruma no Tategoto</b></i> [The Burmese Harp] (Kon Ichikawa, 1956)</p><p>Major discovery: <i><b>Layla wa zi'ab</b></i> (Heiny Srour, 1984) + <i><b>Les Femmes Palestiniennes</b></i> (Jocelyn Saab, 1973)</p><p><br /></p><p><br /></p><p>Esa Salovaara (Finland)</p><p>Absolute favourite: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</p><p>Major discovery: <i><b>Banditi a Orgosolo</b></i> (Vittorio De Seta, 1961) + <i><b>Ahlam el-madina</b></i> (Mohammad Malas, 1984)</p><p>Notes: All Teinosuke Kinugasa’s films were great.</p><p><br /></p><p><br /></p><p>Juan Soto (Colombia)</p><p>Absolute favourite: <i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p>Major discovery: <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p><br /></p><p><br /></p><p>Federico Striuli (Italy)</p><p>Absolute favourite: <i><b>L'ombra</b></i> (Mario Almirante, 1923)</p><p>Major discovery: <i><b>Fiamma simbolica</b></i> (Eugenio Perego, 1918)</p><p><br /></p><p><br /></p><p>Simon Taaffe (Australia)</p><p>Absolute favourite: <i><b>Rio Bravo</b></i> (Howard Hawks, 1959)</p><p>Major discovery: <i><b>Il Dono</b></i> (Michelangelo Frammartino, 2003)</p><p><br /></p><p><br /></p><p>David Thompson (UK)</p><p>Absolute favourite: <i><b>Nella città l'inferno</b></i> (Renato Castellani, 1959)</p><p>Major discovery: <i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p>Notes: Most missed - The Stranger and the Fog.</p><p><br /></p><p><br /></p><p>Matthew Turner (UK)</p><p>Absolute favourite: <i><b>Nella città l'inferno</b></i> (Renato Castellani, 1959)</p><p>Major discovery: <i><b>Nella città l'inferno</b></i> (Renato Castellani, 1959)</p><p><br /></p><p><br /></p><p>Boyd van Hoeij (Netherlands/Luxembourg)</p><div><p>Absolute favourite: <i><b>Macario</b></i> (Roberto Gavaldón, 1960)</p><p>Major discovery: <i><b>Ahlam el-madina</b></i> (Mohammad Malas, 1984)</p></div><p><br /></p><p><br /></p><p>Leo van Hee (Netherlands)</p><p>Absolute favourite: <i><b>Smog</b></i> (Franco Rossi, 1962)</p><p>Major discovery: <i><b>Nothing But a Man</b></i> (Michael Roemer, 1964)</p><p><br /></p><p><br /></p><p>Louise von Plessen (Germany)</p><p>Absolute favourite: <i><b>Love Me Tonight </b></i>(Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)</p><p><br /></p><p><br /></p><p>Marjan Vujović (Serbia)</p><p>Absolute favourite: <i><b>The Dreamers </b></i>(Bernardo Bertolucci, 2003)</p><p>Major discovery: <i><b>Amok</b></i> (Fedor Ozep, 1934)</p><p><br /></p><p><br /></p><p>Jay Weissberg (US/Italy)</p><p>Absolute favourite: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p>Major discovery: <i><b>Le Cake-Walk infernal</b></i> (Georges Méliès, 1903)</p><p><br /></p><p><br /></p><p>Jon Wengström (Sweden)</p><p>Absolute favourite: <i><b>Hijōsen no Onna</b></i> [Dragnet Girl] (Yasujirō Ozu, 1933) + <i><b>A Chess Dispute</b></i> (Robert W. Paul, 1903)</p><p>Major discovery: <i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974) + <i><b>Kawanakajima kassen </b></i>[Battle of Kawanakajima] (Teinosuke Kinugasa, 1941)</p><p><br /></p><p><br /></p><p>Claire West (UK)</p><p>Absolute favourite: <i><b>Love Me Tonight </b></i>(Rouben Mamoulian, 1932)</p><p>Major discovery: <i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><br /></p><p><br /></p><p>Karl Wratschko (Austria)</p><p>Absolute favourite: <i><b>Homeo</b></i> (Etienne O‘Leary, 1967) </p><p>Major discovery: <i><b>Desperate Poaching Affray</b></i> (William Haggar, 1903)</p><p><br /></p><p><br /></p><p>Marina Zigneli (Greece)</p><p>Absolute favourite: <i><b>Dr. Jekyll and Mr. Hyde</b></i> (Rouben Mamoulian, 1931)</p><p>Major discovery: <i><b>Hijōsen no Onna</b></i> [Dragnet Girl] (Yasujirō Ozu, 1933)</p><p><br /></p><p>---------------------------------------------------------------------</p><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b>All the titles:</b></p><span style="color: #ffa400;">23 votes</span><br /><br /><i><b>Gharibeh va Meh</b></i> [The Stranger and the Fog] (Bahram Beyzaie, 1974)<p><span style="color: #ffa400;">22 votes</span></p><p><i><b>Al-Makhdu'un</b></i> [The Dupes] (Tewfik Saleh, 1972)</p><p><span style="color: #ffa400;">18 votes</span></p><p><i><b>Bushman </b></i>(David Schickele, 1971)</p><p><span style="color: #ffa400;">8 votes</span></p><p><i><b>Love Me Tonight</b></i> (Rouben Mamoulian, 1932)</p><p><i><b>Kurutta ippêji</b></i> [A Page of Madness] (Teinosuke Kinugasa, 1926)</p><p><span style="color: #ffa400;">7 votes</span></p><p><i><b>Macario </b></i>(Roberto Gavaldón, 1960)</p><p><i><b>Stella Dallas</b></i> (Henry King, 1925)</p><p><span style="color: #ffa400;">6 votes</span></p><p><i><b>Cherike-ye Tara</b></i> [The Ballad of Tara] (Bahram Beyzaie, 1979)</p><p><span style="color: #ffa400;">5 votes</span></p><p><i><b>Hijōsen no Onna</b></i> [Dragnet Girl] (Yasujirō Ozu, 1933)</p><p><i><b>Il Grido</b></i> (Michelangelo Antonioni, 1957)</p><p><i><b>Nothing But a Man</b></i> (Michael Roemer, 1964)</p><p><i style="font-weight: bold;">Prosopo me prosopo </i><span>[Face to Face]</span><i style="font-weight: bold;"> </i>(Roviros Manthoulis, 1967)</p><p><span style="color: #ffa400;">4 votes</span></p><p><i style="font-weight: bold;">Ahlam el-madina </i>(Mohammad Malas, 1984)</p><p><i><b>Applause </b></i>(Rouben Mamoulian, 1929)</p><p><i style="font-weight: bold;">Bellissima </i>(Luchino Visconti, 1951)</p><p><i><b>Classe Tous Risques </b></i>(Claude Sautet, 1960)</p><p><i><b>Layla wa zi'ab</b></i> (Heiny Srour, 1984)</p><p><i><b>Nella città l'inferno </b></i>(Renato Castellani, 1959)</p><p><i style="font-weight: bold;">Queen Christina </i>(Rouben Mamoulian, 1933)</p><p><i><b>Silk Stockings</b></i> (Rouben Mamoulian, 1957)</p><p><span style="color: #ffa400;">3 votes</span></p><p><i><b>Amok </b></i>(Fedor Ozep, 1934)</p><p><i style="font-weight: bold;">Black Narcissus </i><span>(Michael Powell, Emeric Pressburger, 1947)</span></p><p><i style="font-weight: bold;">Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano </i>(Luigi Comencini, 1969)</p><p><i><b>Lady Windermere’s Fan</b></i> (Ernst Lubitsch, 1928)</p><p><i style="font-weight: bold;">Man's Castle </i>(Frank Borzage, 1931)</p><p><i><b>The Plot Against Harry</b></i> (Michael Roemer, 1969-89)</p><p><i><b>Time of the Heathen</b></i> (Peter Kass, 1961)</p><p><i><b>We Live Again</b></i> (Rouben Mamoulian, 1934)</p><div><span style="color: #ffa400;">2 votes</span></div><p><i><b>Blood and Sand</b></i> (Rouben Mamoulian, 1941)</p><p><i style="font-weight: bold;">City Streets </i>(Rouben Mamoulian, 1931)</p><p><i><b>Die letzte Chance</b></i> (Leopold Lindtberg, 1945)</p><p><i><b>Dr. Jekyll and Mr. Hyde</b></i> (Rouben Mamoulian, 1931)</p><p><i style="font-weight: bold;">L'ombra </i>(Mario Almirante, 1923)</p><p><i style="font-weight: bold;">Il Dono </i>(Michelangelo Frammartino, 2003)</p><p><i><b>Il Ferroviere</b></i> (Pietro Germi, 1956)</p><p><i style="font-weight: bold;">Katherina, die Letzte </i>(Hermann Kosterlitz, 1936)</p><p><i><b>Kawanakajima kassen</b></i> [Battle of Kawanakajima] (Teinosuke Kinugasa, 1941)</p><p><i><b>La maison du mystère</b></i> (Alexandre Volkoff, 1923)</p><p><i><b>Miss Dorothy</b></i> (Giulio Antamoro, 1920)</p><p><i style="font-weight: bold;">Peter</i> (Hermann Kosterlitz, 1934)</p><p><i><b>Rings on Her Fingers</b></i> (Rouben Mamoulian, 1942)</p><p><i style="font-weight: bold;">Smog </i>(Franco Rossi, 1962)</p><p><i><b>The Woman on the Beach</b></i> (Jean Renoir, 1947)</p><p><i><b>Yam Daabo</b></i> (Idrissa Ouedraogo, 1987)</p><div><span style="color: #ffa400;">1 vote</span></div><div><div><div>Aloise (Liliane de Kermadec, 1975)</div><div>Ball im Savoy (Steve Sekely, 1935)</div><div>Banditi a Orgosolo (Vittorio De Seta, 1961)</div><div>Biruma no Tategoto [The Burmese Harp] (Kon Ichikawa, 1956)</div><div>Le Brasier Ardent (Ivan Mozzhukhin, 1923) </div><div>Capelli Biondi (1919)</div><div>Ceddo (Ousmane Sembène, 1977)</div><div>Chromo Sud (Etienne O'Leary, 1968)</div><div>La contessa azzurra (Claudio Gora,1960)</div><div>Cross of Iron (Sam Peckinpah, 1977)</div><div>Cry, the Beloved Country (Zoltan Korda, 1951)</div><div>Daibutsu kaigen [Dedication of the Great Buddha] (Teinosuke Kinugasa, 1953)</div><div>Desperate Poaching Affray (William Haggar, 1903)</div><div>Down and Out in America (Lee Grant, 1986)</div><div>En Irlande: Excursion à Killarney (Camille Legrand, 1908) </div><div>L’Enfant des mariniers (1907)</div><div>L’Enlisé du Mont-Saint-Michel (1908)</div><div>Fiamma simbolica (Eugenio Perego, 1918)</div><div>Homeo (Etienne O‘Leary, 1967) </div><div>Hotel Splendide (Michael Powell, 1932)</div><div>Ich denke oft an Hawaii (Elfi Mikesch, 1978)</div><div>L’Auberge rouge (Jean Epstein, 1923)</div><div>La Captive (Chantal Akerman, 2000)</div><div>La Sorelle Bartels (1910)</div><div>La souriante Madame Beudet (Germaine Dulac, 1923)</div><div>La Voix du Rossignol (Ladislas Starewitch, 1923)</div><div>Ladri di biciclette (Vittorio De Sica, 1948)</div><div>Le Cake-Walk infernal (Georges Méliès, 1903)</div><div>Les Contes des Milles et une nuits (Viatcheslav Tourjansky, 1921)</div><div>Les Femmes Palestiniennes (Jocelyn Saab, 1973)</div><div>One Way Passage (Tay Garnett, 1932)</div><div>Ost Und West (Sidney M. Goldin, 1923)</div><div>Puericultura (1910)</div><div>Rat Life and Diet in North America (Joyce Wieland, 1969)</div><div>Renoir, Vigo, Grémillon les éclaireurs de l'ombre (Alain Agat, 2023)</div><div>Rio Bravo (Howard Hawks, 1959)</div><div>Schatten (Arthur Robison, 1923)</div><div>Shirasagi (Teinosuke Kinugasa, 1958)</div><div>Stornellata Romana (Pietro Francisci, 1947)</div><div>Surprise (Dave Fleischer, 1923)</div><div>Suspect (Robert Siodmak, 1944)</div><div>Tant que s'illuminera l'animal stratifié (Jean Lafleur & Robert Desrosiers, 1965)</div><div>The Celluloid Closet (Rob Epstein, Jeffrey Friedman, 1996)</div><div>The Dreamers (Bernardo Bertolucci, 2003)</div><div>The Edge of the World (Michael Powell, 1937)</div><div>The Golden Coach (Jean Renoir, 1952)</div><div>The Mark of Zorro (Rouben Mamoulian, 1940)</div><div>The Marriage Circle (Ernst Lubitsch, 1924)</div><div>The Movie Orgy (Joe Dante, 1968)</div><div>Quién sabe? (Damiano Damiani, 1966)</div><div>Tire au flanc (Jean Renoir, 1928)</div><div>Un rêve plus long que la nuit (Niki De Saint Phalle, 1976)</div><div>Was soll'n wir denn machen ohne den Tod (Elfi Mikesch, 1980)</div><div>Wo Ist Coletti? (Max Mack, 1913)</div><div>Yōsō (Kinugasa Teinosuke, 1963)</div></div><div>Yukinojô henge: Daiippen dainihen [An Actor's Revenge] (Teinosuke Kinugasa, 1935)</div><div>Zündhölzer (Uwe Krauss, Peter Gehric, 1960)</div><div><div><br /></div><div><br /></div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-XjF94HMlWOGYtGQHyOz-KNzTai9Ryd-4JvZxOm54BIWBhTg79hMq2i50f79qYPQKQqQ32I-WwIclSttSeIc6-E-e_32UNDteIzFnf-QS97m90W_hfnhERpQgVm_pxxe4GoBEqXcCwfJmSnukfadRk8z25qpSvm2P8kruJwUzBip54tyt1bnFLiZMM4W/s2048/SSC-5.07-Persepolis-22.jpg" style="text-align: center;"><img border="0" data-original-height="1365" data-original-width="2048" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm-XjF94HMlWOGYtGQHyOz-KNzTai9Ryd-4JvZxOm54BIWBhTg79hMq2i50f79qYPQKQqQ32I-WwIclSttSeIc6-E-e_32UNDteIzFnf-QS97m90W_hfnhERpQgVm_pxxe4GoBEqXcCwfJmSnukfadRk8z25qpSvm2P8kruJwUzBip54tyt1bnFLiZMM4W/w454-h302/SSC-5.07-Persepolis-22.jpg" width="454" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-78972618092295537492023-06-05T17:42:00.003+00:002023-06-05T17:42:25.575+00:00Peter Cowie on Gharibeh va Meh (1974)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhARxQKR7-CR2oEeCEk4XpcRZ5mqPwnJEXWAKpT60XShkmBVp_uN6SQuJ8fi-5WcQnvk55Dkm_Uuutv6OEOoI-W-HGUGcZ7rx2PwH86Mk35zTgf3qPpAIrZMQjxEC-eG7v4idzgucT5WveiKmot053we906vGeHr2zMPKYfHaNOntKexGXK9MSBcQXcIw/s984/4366.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="739" data-original-width="984" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhARxQKR7-CR2oEeCEk4XpcRZ5mqPwnJEXWAKpT60XShkmBVp_uN6SQuJ8fi-5WcQnvk55Dkm_Uuutv6OEOoI-W-HGUGcZ7rx2PwH86Mk35zTgf3qPpAIrZMQjxEC-eG7v4idzgucT5WveiKmot053we906vGeHr2zMPKYfHaNOntKexGXK9MSBcQXcIw/w456-h342/4366.jpg" width="456" /></a></div><br />"Two years in the making, it is a vast, symbolist drama, set in some remote historical period (hazy even to Iranians), and bursting at the seams with action and bloodcurdling confrontations. Why a young man arrives in a boat to disturb the ritual of a small village, why he is pursued by a band of ominous, black-clad strangers, and why he takes once more to the sea, seems unimportant, for Beizai’s [sic] dazzling technique, clearly influenced by Kurosawa, sweeps all before it. No other Middle Eastern cinema could sustain such an ambitious and visually exciting production." Peter Cowie / Sight & Sound, April 1975<p></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-52355040717141215762023-06-02T09:16:00.008+00:002023-06-02T09:16:58.400+00:00Il Cinema Ritrovato XXXVII – The Films<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF90Vzkp47VHNGQVeUE_aXfxRAlk8RC8BIA65n-3urkfbMtlvoRdZNSIDxWGZThSiQHs5Stj7aBC3aS03023DEttq44LvxPiXSIn_m3Ptc_5nwg6oxS2u-IvVTJ95tQGk3Em7wXi-Nej6LZa6LdYHH4kqnLm5nrIIerqt-rUkLZDOWrxQv4gT_1HYc8A/s2168/Cinema_Ritrovato_poster_2023-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2168" data-original-width="1521" height="541" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF90Vzkp47VHNGQVeUE_aXfxRAlk8RC8BIA65n-3urkfbMtlvoRdZNSIDxWGZThSiQHs5Stj7aBC3aS03023DEttq44LvxPiXSIn_m3Ptc_5nwg6oxS2u-IvVTJ95tQGk3Em7wXi-Nej6LZa6LdYHH4kqnLm5nrIIerqt-rUkLZDOWrxQv4gT_1HYc8A/w380-h541/Cinema_Ritrovato_poster_2023-1.jpg" width="380" /></a></div><br /><div><br /></div>Il Cinema Ritrovato XXXVII – (Almost) All the Titles<span><a name='more'></a></span><div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><div>[Saut du mouton]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Planche à rainures<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Descente dans la batterie<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Une Scène à l'octroi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Velle, Gaston<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Chirurgie mécanique<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Velle, Gaston<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>[Chili : Valparaiso : Arrivée à cheval de M.Rodiguez - La "Zamacueca"- Déjeuner champêtre]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Gendarme et les domestiques<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Velle, Gaston<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Chaudron infernal<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Ramoneur et pâtissier<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Vieux marcheur<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Bébé gourmand<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Marchand de statues<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Mannequin vivant<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Horrible fin d'un concierge!<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>The Delhi Durbar<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Naval Cadets on Training Ship<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>King of Coins<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Collins, Alf<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Faust aux enfers<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Cake-Walk chez les nains<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Royaume de fées<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Captain Deasy's Daring Drive: Ascent<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1903</div><div>Valse excentrique<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Captain Deasy's Daring Drive: Decent<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1903</div><div>Guillaume Tell<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>A Chess Dispute<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Paul, R. W.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>A Desperate Poaching Affray<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Haggar, William<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Mésaventures d'un artiste<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>The Gay Shoe Clerk<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Porter, Edwin S.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>The Unseen World: Cheese Mites<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Duncan, F. Martin<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>The Unclean World<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Stow, Percy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>John Bull's Hearth<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Smith, G. A.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>The Revolving Table<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Stow, Percy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Early Motor Race<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Busy London. Traffic Passing in Front of Bank of England and Mansion House<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Extraordinary Cab Accident<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Booth, W. R.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>A Daring Daylight Burglary<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mottershaw, Frank<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>A Troupe of Russian Dancers<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Alice in Wonderland<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Hepworth, Cecil M. & Stow, P.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Marché à Agra<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Mélomane<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Cake-Walk Infernale<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Transformations spontanées<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Japonais prenant le thé<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>[Singapore]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1903</div><div>Guillaume Tell [Copia Corrick Collection]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Aventures de Don Quichotte<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien & Zecca, Ferdinand<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Marie-Antoinette [Copia Corrick Collection]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>La Vie d'un joueur<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Zecca, Ferdinand<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Pape Leon XIII au Vatican<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>La Mort du Pape Leon XIII<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Un Voyage en pays de brigands<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Épopée napoléonienne: L'Empire (Grandeur et décadence) [Copia DK]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Familie Neubronner Geht Spazieren<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Neubronner, Julius<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1903</div><div>Moren Tanzt<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Neubronner, Julius<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1903</div><div>Types de Français<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Épopée napoléonienne: L'Empire (Grandeur et décadence) [Copia EYE]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Le Portrait spirite<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Un Malheur n'arrive jamais seul<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Méliès, Georges<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Une Partie de canot [Colección Sagarmínaga]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Akt-Skultpuren<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1903</div><div>L'Ours et la sentinelle<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>The Great Train Robbery<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Porter, Edwin S.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1903</div><div>Métamorphose du Roi de Pique<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Velle, Gaston<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>Marie-Antoinette<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nonguet, Lucien<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1903</div><div>[Film Edison] Panorama of Tivoli, showing seven falls<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1903</div><div>L'Enfant des mariniers<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>- <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1907</div><div>En Irlande: Excursion à Killarney<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1908</div><div>Enlisé du Mont Saint Michel<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1908</div><div>Le Corso tragique<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Capellani, Albert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1908</div><div>Il polentone di Pont canavese<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1909</div><div>Coiffures et types de Hollande<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1910</div><div>Tirailleurs tuinsiens<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tunisia<span style="white-space: pre;"> </span>1911</div><div>Le Président de la République Armand Fallières en Tunisie<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1911</div><div>Tontolini è triste<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1911</div><div>Il Natale di Cretinetti<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1911</div><div>Vittoria o morte<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Chomón, Segundo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1912</div><div>La Guerre Italo-Turque. La Mission du croissant-rouge à Gabes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1912</div><div>Tunis. Le Bey se rend à la Mosquée<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tunisia<span style="white-space: pre;"> </span>1912</div><div>Tripoli italiana<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Italia<span style="white-space: pre;"> </span>1912</div><div>Bologna monumentale<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1912</div><div>Cocò marina la scuola<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1912</div><div>The Coming of Angelo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Griffith, D.W. <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1913</div><div>Wo Ist Coletti?<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1913</div><div>Dakar, Principal Port de Commerce de l'Afrique occidentale française<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1913</div><div>Kri kri e il salame<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1913</div><div>Tragediya Dvukh Sester<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Drankov, Aleksandr<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>RU<span style="white-space: pre;"> </span>1914</div><div>Il Fenomenale amico di Polidor <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>God knows who<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1914</div><div>Marcia nuziale<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Gallone, Carmine<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1915</div><div>Passione tsigana<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pasquali, Ernesto Maria<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1916</div><div>Thaïs<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bragaglia, Anton Giulio & Cassano, Riccardo <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1917</div><div>La fiamma simbolica<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Eugenio Perego<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1917</div><div>La tartaruga<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Cassano, Riccardo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1918</div><div>Miss Dorothy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Antamoro, Giulio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1920</div><div>Dr. Jekyll and Mr. Hyde [Home Version]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Robertson, Jack<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1920</div><div>Smarrita!<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Antamoro, Giulio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1921</div><div>Les Contes de mille et une nuits<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tourjansky, Viktor<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1921</div><div>[En marge de les contes de milles et une nuit]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1921</div><div>Screen Snapshots: Foolish Wives<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>von Stroheim, Erich<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1922</div><div>A Woman of Paris [Timothy Brock's Orchestration]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chaplin, Charles<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>Le Retour à la raison [Programma "Return to Reason"?]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Man Ray<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>The Hunchback of Notre Dame<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Wesley, Wallace<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>Le Brasier ardent<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mosjoukine, Ivan<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>Gossette [Ep. 2]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dulac, Germaine<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>[Jack momie égyptienne]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 1: L'Ami Félon]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 2: Le Secret de l'étang]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 3: L'Ambition du service de la haine]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 4: L'Implacable verdict]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 5: Le Pont vivant]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 6: La Voix du sang]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 7: Les Caprices du destin]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 8: Champ clos]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 9: Les Angoisses de Corradin]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>La Maison du mystère [Ep. 10: Le Triomphe de l'amour]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Volkoff, Alexander<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>L'Auberge rouge<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Epstein, Jean<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>Dnevnik Glumova<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Eisenstein, Sergei<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>URSS<span style="white-space: pre;"> </span>1923</div><div>La Souriante Madame Beudet<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dulac, Germaine<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>Surprise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Fleischer, Dave<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>Za oponou Smrti<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Futurista, Ferenc<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CZ<span style="white-space: pre;"> </span>1923</div><div>[ZF 1358 Sarah Bernhardt]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CZ/FR<span style="white-space: pre;"> </span>1923</div><div>La Voix du Rossignol<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Starewicz, Władysław <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>Yes, We Have No - !<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Brunel, Adrian<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1923</div><div>[First Peeps of the Opening of Tut-Ankh Amen's Tomb]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1923</div><div>A Chapter in Her Life [C-115343 + C-216135]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1923</div><div>La crise Italo-Grecque [1923 36 1 NU]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1923</div><div>Bayreuth [1923 44 2 NU]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1923</div><div>Premiere anniversaire du Fascisme [1923 46 1 NU]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1923</div><div>Tut-Ankh-Amen<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Frau, Raymond (AKA Dandy, Raymond)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>AU<span style="white-space: pre;"> </span>1923</div><div>Misrech und Majrew / Ost und West<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Goldin, Sidney M.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>AU<span style="white-space: pre;"> </span>1923</div><div>Hollywood [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Cruze, James<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>[Screen Tests for Marguerite and Faust]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lubitsch, Ernst<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>Schatten, eine nächtliche Halluzination<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Robinson, Arthur<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1923</div><div>La fuga di Socrate<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Brignone, Guido<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1923</div><div>Our Hospitality<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Blystone, John G. & Keaton, Buster<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>[Petersen & Poulsen Lydfilm]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Petersen, Axel & Poulsen, Arnold<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DK<span style="white-space: pre;"> </span>1923</div><div>La fanciulla dell'aria<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lind, Alfred<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DK<span style="white-space: pre;"> </span>1923</div><div>L'Ascension de la Pyramide de "Chéops" par S.A.R. le Prince Léopold<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>EGY<span style="white-space: pre;"> </span>1923</div><div>[Hollywood Sign — Outtakes]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>The Covered Wagon<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Cruze, James<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>Le Roman de la momie<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Rigal, André & Lortac, Robert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>L'ombra<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Almirante, Mario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1923</div><div>La Montagne infidèle<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Epstein, Jean<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923</div><div>[Feuerprobe mit Film]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>SW<span style="white-space: pre;"> </span>1923</div><div>Lucretia Lombard<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Conway, Jack<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1923</div><div>The Marriage Circle<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lubitsch, Ernst<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1924</div><div>North of 36 [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Willat, Irvin<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1924</div><div>Lady Windermere's Fan<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lubitsch, Ernst<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1925</div><div>Stella Dallas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>King, Henry<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1925</div><div>The Phantom of the Opera [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Julian, Rupert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1925</div><div>Clothes Make the Pirate [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tourneur, Maurice<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1925</div><div>The Live Wire [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Hines, Charles<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1925</div><div>Madame sans-gêne [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Perret, Léonce<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1925</div><div>The Flute of Krishna<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1926</div><div>Kurutta ippēji<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1926</div><div>Emak Bakia [Programma "Return to Reason"?]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Man Ray<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1926</div><div>Irene [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Green, Alfred E.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1926</div><div>The American Venus [Trailer]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tuttle, Frank<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1926</div><div>Oni azami<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1927</div><div>Travelaugh No. 10 - Fauny Business<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-US<span style="white-space: pre;"> </span>1927</div><div>Travelaugh No. 6 - Cold Feats<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-US<span style="white-space: pre;"> </span>1927</div><div>Jūjirō<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1928</div><div>Tire-au-flanc<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Renoir, Jean<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1928</div><div>L'Ètoile de mer [Programma "Return to Reason"?]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Man Ray<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1928</div><div>Applause<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1929</div><div>Les Mystères du chateau de Dé [Programma "Return to Reason"?]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Man Ray<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1929</div><div>Cigarettes Balto et Gitanes Vizir<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1929</div><div>Razvite<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>-<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1929</div><div>Ceux qui ne s'en font pas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dulac, Germaine<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1930</div><div>Celles qui s'en font<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dulac, Germaine<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1930</div><div>Un peu de rêve sur le Faubourg<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dulac, Germaine<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1930</div><div>City Streets<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1931</div><div>Dr. Jekyll and Mr. Hyde<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1931</div><div>Frankenstein [Home Version]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Whale, James<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1931</div><div>Ricinpoudre<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Regnier, Jean<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1931</div><div>One Way Passage<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Garnett, Tay<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1932</div><div>Love Me Tonight<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1932</div><div>Hotel Spendide<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1932</div><div>His Lordship<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1932</div><div>Man's Castle<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Borzage, Frank<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1933</div><div>Queen Christina<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1933</div><div>The Song of Songs<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1933</div><div>Hijōsen no Onna<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Ozu, Yasujirō<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1933</div><div>Amok<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Otsep, Fyodor<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1934</div><div>We Live Again<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1934</div><div>The Red Ensign<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1934</div><div>Something Always Happens<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1934</div><div>Salto in die Seligkeit<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Schulz, Fritz<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>AU<span style="white-space: pre;"> </span>1934</div><div>Peter<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kosterlitz, Hermann<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>AU/HU<span style="white-space: pre;"> </span>1934</div><div>Yukinojô Henge: Daiippen Dainihen [Surviving Post-War Reissue] <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1935</div><div>The Love Test<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1935</div><div>The Phantom Light<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1935</div><div>Her Last Affaire<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1935</div><div>Csárdás <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Fleck, Jakob & Luise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>AU/CZ<span style="white-space: pre;"> </span>1935</div><div>Ball im Savoy (versione tedesca)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Székely, Stefan (István)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>HU<span style="white-space: pre;"> </span>1935</div><div>The Raven [Home Version]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Landers, Lew<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1935</div><div>Bride of Frankenstein [Home Version]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Whale, James<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1935</div><div>Katharina, die letzte<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kosterlitz, Hermann<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>AU<span style="white-space: pre;"> </span>1936</div><div>The Edge of the World<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1937</div><div>Golden Boy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1939</div><div>Seminario maggiore<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1939</div><div>Wachtmeister Studer<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lindtberg, Leopold<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Svizzera<span style="white-space: pre;"> </span>1939</div><div>Son of Frankenstein [Home Version]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lee, Rowland V.<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1939</div><div>The Mask of Zorro<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1940</div><div>Istantanea di vita in seminario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1940</div><div>Romeo und Julia auf dem Dorfe<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Schmidely & Trommer<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Svizzera<span style="white-space: pre;"> </span>1941</div><div>Teresa Venerdì<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Sica, Vittorio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1941</div><div>Blood and Sand<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1941</div><div>Kawanakajima kassen <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1941</div><div>Chierici in montagna<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1941</div><div>Viaggio in terra missione-Il primo viaggio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1941</div><div>Rings on Her Fingers<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1942</div><div>The Suspect<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Siodmak, Robert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1944</div><div>Marie-Louise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lindtberg, Leopold <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Svizzera<span style="white-space: pre;"> </span>1944</div><div>Spellbound<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Hitchcock, Alfred<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1945</div><div>Roma città aperta<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Rossellini, Roberto<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1945</div><div>Die letzte Chance<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lindtberg, Leopold<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Svizzera<span style="white-space: pre;"> </span>1945</div><div>Arrivée de Fernand Léger devant la gare du palais (Québec)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Parent, Omer<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1945</div><div>Abbasso la ricchezza!<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Righelli, Gennaro<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1946</div><div>Marechiaro (Nessuna notizia reperita)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pietro Francisci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1946</div><div>The storybook Review<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Harryhausen, Ray<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1946</div><div>The Woman on the Beach<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Renoir, Jean<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1947</div><div>L'onorevole Angelina<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Zampa, Luigi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1947</div><div>Joyū<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1947</div><div>Black Narcissus<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Powell e Pressburger<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1947</div><div>Stornellata Romana <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pietro Francisci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1947</div><div>Ladri di biciclette<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Sica, Vittorio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1948</div><div>Molti sogni per le strade<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Camerini, Mario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1948</div><div>L'amore (Ep. La voce umana)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Rossellini, Roberto<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1948</div><div>Come facette Mammeta (altri titolo: Come te facette mammeta) <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pietro Francisci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1948</div><div>Na Sera e Maggio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pietro Francisci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1948</div><div>O Sole Mio (altro titolo: “Fenestrella illuminata a Mare Chiaro”)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pietro Francisci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1948</div><div>Erase una vez<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Cirici-Pellicer, Escobar<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>SP<span style="white-space: pre;"> </span>1950</div><div>Bellissima<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Visconti, Luchino<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1951</div><div>Die Vier im Jeep<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lindtberg, Leopold<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Svizzera<span style="white-space: pre;"> </span>1951</div><div>Cry, the Beloved Country<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Korda, Zoltán<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1952</div><div>Processo alla città<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Zampa, Luigi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1952</div><div>Le Carrosse d'or<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Renoir, Jean<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR/IT<span style="white-space: pre;"> </span>1952</div><div>Daibutsu kaigen <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1952</div><div>Heidi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Comencini, Luigi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Svizzera<span style="white-space: pre;"> </span>1952</div><div>Roman Holiday<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Wyler, William<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1953</div><div>From Here to Eternity<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Zinnemann, Fred<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1953</div><div>Fear and Desire (versione integrale)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kubrick, Stanley<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1953</div><div>I, the Jury 3D<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Essex, Harry<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1953</div><div>Siamo donne (Ep. Il cane da grembo)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Visconti, Luchino<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1953</div><div>I vinti (Episodio inglese)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Antonioni, Michelangelo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1953</div><div>Crin Blanc<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lamorisse, Albert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1953</div><div>Amori di mezzo secolo (versione integrale)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Germi, Chiari, Pellegrini<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1954</div><div>Peccato che sia una canaglia<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Blasetti, Alessandro<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1954</div><div>East of Eden<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kazan, Elia<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1955</div><div>Revenge of the Creature 3D<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Arnold, Jack<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1955</div><div>The Rose Tattoo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mann, Daniel<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1955</div><div>Biruma no tategoto<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Ichikawa, Kon<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1956</div><div>Il ferroviere<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Germi, Pietro<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1956</div><div>Il grido<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Antonioni, Michelangelo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT-US<span style="white-space: pre;"> </span>1957</div><div>Silk Stockings<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mamoulian, Rouben<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1957</div><div>Shirasagi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1958</div><div>Un giorno in Barbagia<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Seta, Vittorio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1958</div><div>Rio Bravo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Hawks, Howard<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1959</div><div>Nella città l'inferno<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Castellani, Renato<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1959</div><div>Classe tous risques<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Sautet, Claude<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-IT<span style="white-space: pre;"> </span>1960</div><div>Macario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Gavaldon, Roberto<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>MX<span style="white-space: pre;"> </span>1960</div><div>La maschera del demonio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bava, Mario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1960</div><div>La contessa azzurra<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Gora, Claudio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1960</div><div>Risate di gioia<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Monicelli, Mario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1960</div><div>Zündhölzer<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Gehrig, Peter & Krauss, Uwe<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1960</div><div>Przygoda w paski <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Alina Maliszewska - Kruk<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>POL<span style="white-space: pre;"> </span>1960</div><div>Banditi a Orgosolo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Seta, Vittorio<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1961</div><div>Time of the Heathen<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kass, Peter<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1961</div><div>Skarb Czarnego Jack'a <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Witold Giersz<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>POL<span style="white-space: pre;"> </span>1961</div><div>Smog (versione lunga)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Rossi, Franco<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1962</div><div>The World's Greatest Sinner<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Carey, Timothy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1962</div><div>Vie privée<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Malle, Louis<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1962</div><div>Boccaccio '70 (Ep. Il lavoro)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Visconti, Luchino<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1962</div><div>Cortile Cascino<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Roemer, Michael & Young<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1962</div><div>Yōso<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kinugasa, Teinosuke<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>JP<span style="white-space: pre;"> </span>1963</div><div>La Boulangère de Monceau<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Rohmer, Éric<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1963</div><div>Rysopis<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Skolimowski, Jerzy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>PL<span style="white-space: pre;"> </span>1964</div><div>Nothing But a Man<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Roemer, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1964</div><div>Nadja à Paris<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Rohmer, Éric<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1964</div><div>Peggy's Blue Skylight<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Wieland, Joyce<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1964</div><div>La Traversata (episodio di Made in Italy)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Loy, Nanni<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1965</div><div>Tant que s'illuminera l'animal stratifié<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lafleur, Jean & Desrosiers, Robert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1965</div><div>Water Sark<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Wieland, Joyce<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1965</div><div>Jirtdan<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Azerbaijan<span style="white-space: pre;"> </span>1965</div><div>Niespodzianka <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Terasa Badzian<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>POL<span style="white-space: pre;"> </span>1965</div><div>Quién Sabe?<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Damiani, Damiano<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1966</div><div>Is Paris Burning? (V. inglese)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Clément, René<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-US<span style="white-space: pre;"> </span>1966</div><div>Prosopo me Prosopo (Πρόσωπο με πρόσωπο)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Manthoulis, Robert<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>GR<span style="white-space: pre;"> </span>1966</div><div>Le Sénégal et le Festival Mondial des Arts Nègres <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Actualité sénégalaise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Senegal<span style="white-space: pre;"> </span>1966</div><div>Day Tripper / Le Voyageur diurne<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>O'Leary, Etienne<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1966</div><div>Czar Kółek <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kazimierz Urbański<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>POL<span style="white-space: pre;"> </span>1966</div><div>Faces of Israel<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Roemer, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1967</div><div>Homeo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>O'Leary, Etienne<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1967</div><div>The Movie Orgy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dante, Joe<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1968</div><div>Targets<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bodanovich, Peter<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1968</div><div>Concerto pour un exil<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Ecaré, Desiré<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-Costa d'avorio<span style="white-space: pre;"> </span>1968</div><div>Chromo Sud<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>O'Leary, Etienne<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1968</div><div>Riten<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bergman, Ingmar<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>SW<span style="white-space: pre;"> </span>1969</div><div>Infanzia, vocazione e prime esperienze di Giacomo Casanova, veneziano<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Comencini, Luigi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1969</div><div>Rat Life and Diet in North America<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Wieland, Joyce<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1969</div><div>Bushman<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Schickele, David<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1971</div><div>Tér<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Szábo, István<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>HU<span style="white-space: pre;"> </span>1971</div><div>Tian xia di yi quan (King Boxer)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Jeong, Chang-hwa<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>HK<span style="white-space: pre;"> </span>1972</div><div>Roma [Estratto Magnani]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Fellini, Federico<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1972</div><div>Al-Makhdo'un<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tewfik Saleh<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Siria<span style="white-space: pre;"> </span>1972</div><div>Kokorowe Koła <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Stefan Janik<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>POL<span style="white-space: pre;"> </span>1972</div><div>The Wicker Man (The Final Cut)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Hardy, Robin<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>1973</div><div>Il tram (Ep. di La porta sul buio)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Argento, Dario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1973</div><div>Les Femmes palestiniennes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Saab, Jocelyne<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Libano<span style="white-space: pre;"> </span>1973</div><div>Gharibeh Va Meh<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Beyzaie, Bahram<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Iran<span style="white-space: pre;"> </span>1974</div><div>General Idi Amin Dada<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Schroeder, Barbet<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-Svizzera<span style="white-space: pre;"> </span>1974</div><div>Antonia: A Portrait of the Woman<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Godmilow & Collins<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1974</div><div>Aloise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Kermadec, Liliane<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1975</div><div>La casa dalle finestre che ridono<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Avati, Pupi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1976</div><div>Un rêve plus long que la nuit<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Saint Phalle, Niki<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1976</div><div>Reportage sur le plateau de tournage de Ceddo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Actualité sénégalaise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Senegal<span style="white-space: pre;"> </span>1976</div><div>Cross of Iron<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Peckinpah, Sam<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK/DE<span style="white-space: pre;"> </span>1977</div><div>Ceddo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Ousmane Sembene<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Senegal<span style="white-space: pre;"> </span>1977</div><div>Ich denke oft an Hawaii<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mikesch, Elfi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1978</div><div>Godard a Montreal - Parte 1<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1978</div><div>Godard a Montreal - parte 2<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1978</div><div>Godard a Montreal - parte 3<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1978</div><div>Vues au pochoir: Clovelly (Pathécolor)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1978</div><div>Vues au pochoir: La Creuse (Pathécolor)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1978</div><div>Tcherike-ye Tara<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Beyzaie, Bahram<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Iran<span style="white-space: pre;"> </span>1979</div><div>Execution. A Study of Mary<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mikesch, Elfi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1979</div><div>Was soll'n wir denn machen ohne den Tod<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mikesch, Elfi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1980</div><div>La Femme d'à coté<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Truffaut, François<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1981</div><div>Blow Out<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>De Palma, Brian<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1981</div><div>La Nuit de Varennes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scola, Ettore<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-IT<span style="white-space: pre;"> </span>1982</div><div>Les Maitres du temps<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Laloux, René<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-DE-UK<span style="white-space: pre;"> </span>1982</div><div>Renata<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Savoca, Nancy<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1982</div><div>The French<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Klein, William<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1982</div><div>Macumba<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mikesch, Elfi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1982</div><div>Die blaue Distanz<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mikesch, Elfi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1983</div><div>Gremlins<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dante, Joe<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1984</div><div>Layla Wa Zi'ab<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Heiny Srour<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Libano<span style="white-space: pre;"> </span>1984</div><div>Ahlam al-Madina <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Mohammad Malas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Siria<span style="white-space: pre;"> </span>1985</div><div>Speriamo che sia femmina<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Monicelli, Mario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1986</div><div>Yam Daabo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Ouédraogo, Idrissa <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Burkina Faso<span style="white-space: pre;"> </span>1986</div><div>Down and Out in America<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Grant Lee<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1986</div><div>Jolicoeur touriste<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Louise Bourque<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1989</div><div>Corpusculaire<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lafontaine, Yves<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1989</div><div>Gremlins 2: The New Batch<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Dante, Joe<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1990</div><div>Hamlet<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Zeffirelli, Franco<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-US-UK<span style="white-space: pre;"> </span>1990</div><div>Ishanou<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Aribam Syam Sharma<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>India<span style="white-space: pre;"> </span>1990</div><div>En train de danser sur une musique de M. Muybridge<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DeGagné, Michel & Gélinas, Michel<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1990</div><div>Thelma & Louise [4K]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scott, Ridley<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1991</div><div>The Celluloid Closet<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Epstein & Friedman<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1995</div><div>The Straight Story<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lynch, David<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-US-UK<span style="white-space: pre;"> </span>1999</div><div>La Captive<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Akerman, Chantal<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>BE<span style="white-space: pre;"> </span>2000</div><div>Coccobilliput<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pierluigi De Mas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2001</div><div>Cocco Bill fa coccodè<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pierluigi De Mas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2001</div><div>Cocco Bill nell'aldiqua<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pierluigi De Mas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2001</div><div>The Pianist<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Polanski, Roman<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE-FR-IT-UK-(PO ?)<span style="white-space: pre;"> </span>2002</div><div>The Dreamers<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bertolucci, Bernardo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK/FR/IT<span style="white-space: pre;"> </span>2003</div><div>Il dono<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Frammartino, Michelangelo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2003</div><div>Inland Empire<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lynch, David<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US-FR-POL<span style="white-space: pre;"> </span>2006</div><div>My Happy End<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Vitanov, Milen<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>2008</div><div>Liivamees<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Pärtel Tall<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Estonia<span style="white-space: pre;"> </span>2011</div><div>Moia Mama – Samolet <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Aronova, Yulia <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Russia<span style="white-space: pre;"> </span>2013</div><div>Das kleine rote Papierschiffchen<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Aleksandra Zareba<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE/POL<span style="white-space: pre;"> </span>2013</div><div>Malý Cousteau<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kouril, Jakub<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CZ<span style="white-space: pre;"> </span>2014</div><div>Rouben Mamoulian - Lost and Found<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Labarthe, André<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>2016</div><div>Le nozze di pollicino<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Beatrice Pucci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2018</div><div>The Bird and the Whale<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Carol Freeman<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IR<span style="white-space: pre;"> </span>2018</div><div>La passione di Anna Magnani<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Cerasuolo, Enrico<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-IT<span style="white-space: pre;"> </span>2019</div><div>Last Words<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nossiter, Jonathan<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR-IT<span style="white-space: pre;"> </span>2020</div><div>The witch and the Baby<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Evgenia Golubeva<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Russia<span style="white-space: pre;"> </span>2020</div><div>Inkt<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Erik Verkerk & Joost van den Bosch<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>HOL<span style="white-space: pre;"> </span>2020</div><div>Gli ultimi giorni dell'umanità<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Ghezzi, Enrico<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2022</div><div>All the Beauty and the Bloodshed<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Poitras, Laura<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>2022</div><div>Monica in the South Seas<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>van Ingen, Sami & Taanila, Mika<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FI<span style="white-space: pre;"> </span>2022</div><div>Ciné-Guerrillas: Scenes from the Labudović Reels<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Turajlic, Mila<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR/SB<span style="white-space: pre;"> </span>2022</div><div>A Trip to Tetlapayac<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Christie, Ian & Shimada, Chiemi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK/JP<span style="white-space: pre;"> </span>2022</div><div>Dove il sasso caddrà<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Beatrice Pucci<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>2022</div><div>Kaadina Jeevantike<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Nandini e Nirupa Rao, Kalp Sanghvi<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>India<span style="white-space: pre;"> </span>2022</div><div>A la chaleur des années froides<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kaufman, Darius & Jan, Eytan<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>2023</div><div>Cinema Laika<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Vidak, Veljko<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR/FI<span style="white-space: pre;"> </span>2023</div><div>Dorothy Arzner, une pionnière à Hollywood<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Kuperberg, Clara & Julia<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>2023</div><div>Viva Varda!<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Gibert, Pierre-Henri<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>2023</div><div>Lila<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bird, Daniel<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>2023</div><div>Scala Club Cinema<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Giles, Jan e Catterall Ali<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>UK<span style="white-space: pre;"> </span>2023</div><div>Renoir, Vigo, Grémillon les éclaireurs de l’ombre <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Agat, Alain <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>2023</div><div>La Tripolitaine-Libye<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Tunisia<span style="white-space: pre;"> </span>1911-12</div><div>Le Festival de IFE<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Actualité sénégalaise<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Senegal<span style="white-space: pre;"> </span>?</div><div>Puericultura<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1909-1911</div><div>La Pêche sur les côtes tunisiennes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1910?</div><div>La Tonte des moutons en Tunisie<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1910?</div><div>[Exécution capitale en Tunisie]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1910?</div><div>L'Oasis de Gafsa<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1910?</div><div>La Pêche aux thons de Sidi Daoud<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Chikli, Albert Samama<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1910?</div><div>Mode uit Parijs 1<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1923-1925</div><div>Tests et jeux expérimentaux<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Parent, Omer<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1943-54</div><div>Adamo, Vivre<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Aimable et Zappy Max, Elle s’était fait couper les cheveux<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Aphrodite’s Child, Let Me Love, Let Me Live<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Audrey Arno, La Pachanga<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Hugues Aufray, Dès que le printemps revient<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Brigitte Bardot, Serge Gainsbourg, Comic Strip<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Alain Barrière, Les Guinguettes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Gilbert Bécaud, Nathalie<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Gilbert Bécaud, L’Important c’est la rose<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Les Brutos, Summer Time – Besame Mucho<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Rita Cadillac, C’est fou<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Maya Casabianca, Garde-moi la dernière danse<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Les Charlots, Paulette la reine des paupiettes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Les Charlots, Je chante en attendant que ça sèche<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Les Chats sauvages, Sherry<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Christophe, Les Marionnettes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Jean Constantin, Dibilibilim<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Dalida, Viva la pappa!<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Dion, Ruby Baby<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Claude François, Chaque jour c’est la même chose<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>France Gall, Baby Pop<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>John Foster, Amore scusami<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Franck Gérald, Si ton destin<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Danyel Gérard, D’accord, d’accord<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Juliette Greco, C’était bien (Le p’tit bal perdu)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Johnny Hallyday, Je te veux <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Françoise Hardy, Comme tant d’autres<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Jacques Hélian et son orchestra, Oh! Honolulu (Chi chi)<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Enrico Macias, Mon cœur d’attache<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Enrico Macias, Paris tu m’as pris dans tes bras <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Mireille Mathieu, À coeur perdu<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Mireille Mathieu, Mon copain Pierrot<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Mireille Mathieu, J’ai gardé l’accent<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Myriam Michelson, Le Letkiss<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Mistigri, Rue de Lappe <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Claude Nougaro, Le Jazz et la java<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Pierre Perret, Les jolies colonies de vacances<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Pierre Perret, Tonton Cristobal<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Annie Philippe, Ticket de quai<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Roger Pierre & Jean-Marc Thibaut, Y’a un truc<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Conrad Prindle, Snappez à mes côtés<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Line Renaud, Hully Gully<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Henri Salvador, Twist SNCF<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Henri Salvador, Zorro est arrivé<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Henri Salvador, Juanita Banana<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Henri Salvador, Attila est là<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Henri Salvador, Toucher du bois mon gars<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Sheila, L’Heure de la sortie<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Les Surfs, Sacré Josh<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Les Surfs, Scandale dans la famille <span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Sylvie Vartan, Si je chante<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Sylvie Vartan, Je voudrais être un garçon<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Hervé Villard, Mourir ou vivre<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>Bobby Vee, The Night Has a Thousand Eyes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Scopitone<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>1960s</div><div>A+B in Ontario<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Frampton, Hollis & Wieland, Joyce<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>CAN<span style="white-space: pre;"> </span>1967/84</div><div>Eldridge Cleaver, Black Panther<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Klein, William<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Algeria/FR<span style="white-space: pre;"> </span>1969/70/71</div><div>The Plot Against Harry<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Roemer, Michael<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>US<span style="white-space: pre;"> </span>1971/89</div><div>Lightning Over Water<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Wenders, Wim<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>DE<span style="white-space: pre;"> </span>1979/80</div><div>Otello o la deficienza della donna + Rushes<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bene, Carmelo<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>IT<span style="white-space: pre;"> </span>1979-2002</div><div>Last Call [intervista a Greenaway]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Bachmann, Gideon<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>1980s</div><div>Gratitude obsedante [DK6328]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>L'Auvergne pittoresque [DK95]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Dans les airs [DK1273]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Cunégonde femme cochère [D3755]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Les Primevères [DK1156]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>De Pau a Cauterets [DK37]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Patouillard a une femme jalouse [D4785]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Patouillard a une femme qui veux suivre la mode [DK532]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Patouillard toréador [Restored in 2022-2023]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>La Bouteille de Patouillard [D4699]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Cunégonde fait du spiritisme [DK4435]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Cunégonde aime son maître [D4717]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Ma concierge est trop jolie [D3663]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div><div>Justice de fauve [DK2109]<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>Lux Film<span style="white-space: pre;"> </span>|<span style="white-space: pre;"> </span>FR<span style="white-space: pre;"> </span>seriously old</div></div></div><div><div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></div></div>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com2tag:blogger.com,1999:blog-3814117458688785258.post-88902614858524187972023-05-31T12:28:00.001+00:002023-05-31T12:28:04.200+00:00Rouben Mamoulian, Lost and Found (André S. Labarthe, 2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUIxrqRgPkL_MQ117Z4hcoP2sews66kiDKJ94gaNTtmllMqTalC4fTEtOmFSURbwm38HpCySqX3_3zvwIG7PlJWeXzbf_6N9Is-xu8aEEuniPdgK31xzQlnzYGZp9cttQY200kE9IX4JEvYDY-XbFN5WGPNp6EQGPm-y_dpIIMNJjj7CjuecYKnXopA/s1254/Rouben%20Mamoulian%20Lost%20and%20Found.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="934" data-original-width="1254" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUIxrqRgPkL_MQ117Z4hcoP2sews66kiDKJ94gaNTtmllMqTalC4fTEtOmFSURbwm38HpCySqX3_3zvwIG7PlJWeXzbf_6N9Is-xu8aEEuniPdgK31xzQlnzYGZp9cttQY200kE9IX4JEvYDY-XbFN5WGPNp6EQGPm-y_dpIIMNJjj7CjuecYKnXopA/w472-h350/Rouben%20Mamoulian%20Lost%20and%20Found.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>Rouben Mamoulian, Lost and Found</b></i></td></tr></tbody></table><br />Free admission screening of the film at Il Cinema Ritrovato, on June 23, 14.30, Sala Scorsese.<div><br /></div><div><br /><p><span style="font-size: x-large;"><b>W</b></span>hen it comes to filmed interviews, Mamoulian is one of the well-documented giants of classical Hollywood. His eloquence and wisdom can be heard in interviews shot for documentaries about his friends (<i><b>George Stevens: A Filmmaker's Journey</b></i>, shown at Il Cinema Ritrovato 2021) or horror cinema (<i><b>The Horror of It All </b></i>by Gene Feldman and Suzette Winter, 1983). There are films exclusively about him such as Patrick Cazals's <i><b>Rouben Mamoulian, l’âge d’or de Broadway et Hollywood</b></i> (2007) which also features brief clips of interviews that Iranian director of Armenian origins, Arby Ovanessian (a guest of Il Cinema Ritrovato 2022) conducted with Mamoulian. Television networks, too, since the revival of his films in the 1960s, have interviewed him as in BBC's <i><b>Film Extra</b></i> (1973). However, this French television interview, by one of the fathering figures of television documentaries on cinema, André S. Labarthe, was lost for decades until retrieved and made into the<i><b> Rouben Mamoulian, Lost and Found</b></i>. This is the most detailed career interview Mamoulian ever gave on film.<span></span></p><a name='more'></a><p></p><p>The setting is Mamoulian's Beverly Hills house in September 1965, only a couple of weeks after the <a href="https://en.wikipedia.org/wiki/Watts_riots" target="_blank">Watts riots</a>. No signs of the social upheaval in the house or in the courteous manner of gentle and elegant 68-year-old man who answers to interviewer Hubert Knapp's questions in ear-pleasing French, reminiscing about his colourful life from Tbilisi to Hollywood. He talks at length about musicals on stage and screen and prides himself in early sound experiments he made such as introducing mixing the sound for impressionistic effect in <i><b>Applause </b></i>(1929). He rejects style as mannerism and proposes that style is the point of view of the artist toward the world, leaving the door open for reading his breezy camera movements, stimulating editing and effervescent narrative as a particular vision on humanity. </p><p><br /></p></div>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-48450166186024685932023-05-30T12:35:00.005+00:002023-05-30T12:35:57.581+00:00Cherike-ye Tara [The Ballad of Tara] (Bahram Beyzaie, 1979)<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9uayPj1lSxl5ucZMXlhfFK9rz0lf29FJa5zVVoMFmuUoiwWqd4syxrXnEiVKHg9AHoSVmk0He142jDi4pomjUYSBk2RftL4HmzoXg62xvOi0QxgHPGpMMROTYk0KOfoTgs8Rhqc60YcP3yGiqGG1GrvUrFpC2bqcMd9bAuIgc8Ur5cHuDHFrjqbrHKw/s993/Cherike-ye%20Tara%20-%20Ballad%20of%20Tara%20-%20Bahram%20Beyzaie%20(3).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="781" data-original-width="993" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9uayPj1lSxl5ucZMXlhfFK9rz0lf29FJa5zVVoMFmuUoiwWqd4syxrXnEiVKHg9AHoSVmk0He142jDi4pomjUYSBk2RftL4HmzoXg62xvOi0QxgHPGpMMROTYk0KOfoTgs8Rhqc60YcP3yGiqGG1GrvUrFpC2bqcMd9bAuIgc8Ur5cHuDHFrjqbrHKw/w458-h361/Cherike-ye%20Tara%20-%20Ballad%20of%20Tara%20-%20Bahram%20Beyzaie%20(3).jpg" width="458" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ballad of Tara</td></tr></tbody></table> <br /><br /></p><p><b><span style="font-size: x-large;">B</span></b>ahram Beyzaie's seamless blend of myth, symbolism, folklore and classical Persian literature in <i><b>The Ballad of Tara</b></i> is unparalleled in its complexity. Yet, apart from <i><b>Downpour </b></i>(1972), which was restored and revived a decade ago, the director with the most consistent body of work in the Iranian cinema of the 1970s is also, unjustly, one of the most invisible masters of the Iranian New Wave. Here, as well as directing, he has also produced, written, set-, costume-designed and edited a mesmerising tale that fuses the ceremonial legends of the past with contemporary life. Tara, a strong-willed widow encounters the fleeting ghost of an ancient warrior in the forest next to her village. The ghost's appearances become more frequent and finally he talks to her, claiming a sword that she has found among her father's effects. Without the sword, the dead warrior can't rest. But when the sword is restored to him, it's his love for Tara that prevents him from returning to the land of the dead.<span></span></p><a name='more'></a><p></p><p>With the close of production coinciding with the 1979 revolution and the Islamist take-over of the country, it wasn't so much the political symbolism of the film that led to its indefinite ban. Rather, it was the image of a woman, both desired and at the same time in charge of her destiny, which upset the authorities. (Cannes 1980 was the only official screening of the film.) Susan Taslimi’s stunning debut in the role of Tara remained unseen. Her energy is matched by the self-assured performance of Beyzaie's regular collaborator, Manouchehr Farid.</p><p>The film is influenced by the patterns of ancient ritual as many of the scenes happen in parallel to a <i>Ta'zieh </i>performance, a Shia passion play, depicting the sufferings of Imam Hossein. The film could be seen as a secular interpretation of <i>Ta'zieh </i>(as much as a feminist take on Kurosawa) in which Tara, having lost the men in her life, realises that she has to pick up a sword and redefine her womanhood. In that sense, the last sequence, one of the greatest moments of Iranian cinema, anticipates in its epic poetry the bravery of the struggles of Iranian women today. </p><p style="text-align: right;">Ehsan Khoshbakht</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEG-kSrVD0NyaFZfqpGCoKbxo1uTpyatqp_5194ZNjCZfIRUBDXYmFl4zWFhlMrRs9rM72EPKn0KYxnkbSUzyBRwyONgfrff6j1bc6kjDyQX8cN4x84hIabCmVmzHWfA8omurLRwHQ5xiyo9QxQifoalNAjo7NGa4spJfHJMB0rybxNi8O7brlTel38g/s1000/Bahram_Beyzaie_1976_small.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="655" data-original-width="1000" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEG-kSrVD0NyaFZfqpGCoKbxo1uTpyatqp_5194ZNjCZfIRUBDXYmFl4zWFhlMrRs9rM72EPKn0KYxnkbSUzyBRwyONgfrff6j1bc6kjDyQX8cN4x84hIabCmVmzHWfA8omurLRwHQ5xiyo9QxQifoalNAjo7NGa4spJfHJMB0rybxNi8O7brlTel38g/w459-h302/Bahram_Beyzaie_1976_small.jpg" width="459" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bahram Beyzaie in 1976<br /><br /></td></tr></tbody></table><p>The world premiere of the new restoration at Il Cinema Ritrovato 2023.</p><p>Title transliteration: Cherike-ye Tara</p><p>Writer, director, producer, set and costume designer, editor: Bahram Beyzaie</p><p>DoP: Mehrdad Fakhimi</p><p>Producer: Leesar Film Group (Bahram Beyzaie)</p><p>Cast: Susan Taslimi (Tara), Manouchehr Farid (ancient warrior), Reza Babak (Ghelich), Siamak Atlasi (Ashoub), Mahim Dayhim (neighbour).</p><p>Length of the restored version: 102' 11''</p><p><br /></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-47626023104535816102023-05-22T15:29:00.004+00:002023-05-22T15:48:47.233+00:00 Rouben Mamoulian: A Touch of Desire<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUgcDief_1ANJ05kvfV_sXIv7FhNoF0lgQvbqdNDypYJ5ThxTm0fOp-LjhC9NqG8Gc9r4VEUcxA75J1SzuOFngimRj3xzyrdVBTS0RuKgIpyA8C0M5HB1EA2bSGglZwLlxjz2Qtccjw7GoYUBk1ZFf4jUUP7Pn3m2xUtT2Zf1KJeGGkRWjQAOOHVQ5Cg/s2200/Silk%20Stockings)_01.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2200" data-original-width="1690" height="535" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUgcDief_1ANJ05kvfV_sXIv7FhNoF0lgQvbqdNDypYJ5ThxTm0fOp-LjhC9NqG8Gc9r4VEUcxA75J1SzuOFngimRj3xzyrdVBTS0RuKgIpyA8C0M5HB1EA2bSGglZwLlxjz2Qtccjw7GoYUBk1ZFf4jUUP7Pn3m2xUtT2Zf1KJeGGkRWjQAOOHVQ5Cg/w412-h535/Silk%20Stockings)_01.jpg" width="412" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>Silk Stockings </b></i>| publicity still</td></tr></tbody></table><br /><p><span style="color: red; font-size: medium;">Rouben Mamoulian: A Touch of Desire (1926-1957)</span></p><p><span style="color: #cc0000;">Retrospective at Il Cinema Ritrovato, June 24-July 2, 2023</span></p><p><br /></p><p><span style="font-size: x-large;"><b>K</b></span>nown for his ability to encode his vision in light, movement, and later in colour, the Tbilisi-born Armenian Rouben Mamoulian had one of the most consistent bodies of work in American cinema. Rightly celebrated for his invaluable contribution to Hollywood's transition to sound, he both unchained the camera and used dialogue like a work of musical accompaniment. His mobile camera was envied and imitated, and his style is instantly recognisable for its sophistication, humour and erotic undertone. Mamoulian was equally efficient in more sombre types of cinema, serving as a pioneering figure in both gangster and horror genres. This career retrospective showcases Mamoulian's work from his only silent film, to the early sound period, to his final musical, in colour and CinemaScope. Aside from a new digital restoration of Dr. Jekyll and Mr. Hyde, everything else will be screened in 35mm.</p><span><a name='more'></a></span><p><br /></p><p></p><ul style="text-align: left;"><li>The dates subject to change until the official announcement of the programme in June 2023.</li><li>All screenings in 35mm except <i><b>Dr. Jekyll and Mr. Hyde</b></i>, to be a screened from a digitally restored copy.</li><li>The venue: Cinema Jolly</li></ul><p></p><p><br /></p><p>June 22</p><p>TBC <i><b>Rouben Mamoulian: Lost and Found</b></i> (André S. Labarthe, 2016)</p><p><br /></p><p>June 24</p><p>16:00 <i><b>Flute of Krishna</b></i> [silent with live accompaniment] + <i><b>Applause</b></i><span style="white-space: pre;"> </span></p><p>21:30 <i><b>Silk Stockings </b></i></p><p><br /></p><p>June 25</p><p>11:00 <i><b>Dr. Jekyll Mr. Hyde</b></i></p><p>16:30 <i><b>City Streets</b></i></p><p><br /></p><p>June 26</p><p>11:00 <i><b>Love Me Tonight</b></i></p><p>21:30 <i><b>Blood and Sand</b></i></p><p><br /></p><p>June 27</p><p>11:00 <i><b>We Live Again</b></i></p><p>16:30 <i><b>The Song of Songs</b></i></p><p><br /></p><p>June 28</p><p>11:15 <i><b>Golden Boy </b></i></p><p>16:30 <i><b>Queen Christina</b></i></p><p>21:30 <i><b>City Streets</b></i></p><p><br /></p><p>June 29</p><p>09:00 <i><b>Rings on Her Fingers</b></i></p><p>11:00 <i><b>Blood and Sand</b></i></p><p>16:30 <i><b>The Mark of Zorro</b></i></p><p><br /></p><p>June 30</p><p>11:00 <i><b>Silk Stockings</b></i></p><p>21:30 <i><b>Queen Christina</b></i></p><p><br /></p><p>July 1</p><p>11:50 <i><b>Applause</b></i></p><p>16:30 <i><b>Dr. Jekyll Mr. Hyde</b></i></p><p>21:30 <i><b>We Live Again</b></i></p><p><br /></p><p>July 2</p><p>TBC <i><b>Love Me Tonight</b></i></p><p><br /></p><p><i><b><a href="https://notesoncinematograph.blogspot.com/2019/05/becky-sharp.html" target="_blank">Becky Sharp</a></b></i> (1935) was screened in Bologna, from a restored copy, in 2019 and it won't be repeated this year.</p><p><br /></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-72077476352162335222023-04-21T10:11:00.008+00:002023-04-21T10:12:52.925+00:00Cry of Midnight (Samuel Khachikian, 1961)<div class="separator" style="clear: both; text-align: center;"><a href="https://sinematranstopia.com/storage/veranstaltung/2023/04/301/conversions/4OUIOwWrkAgWJ2eM7rQ7nCsZXb5giz-metaQ3J5IG9mIE1pZG5pZ2h0ICgzKSAoMSkuanBn--frontend-16x9-full.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="274" src="https://sinematranstopia.com/storage/veranstaltung/2023/04/301/conversions/4OUIOwWrkAgWJ2eM7rQ7nCsZXb5giz-metaQ3J5IG9mIE1pZG5pZ2h0ICgzKSAoMSkuanBn--frontend-16x9-full.webp" width="489" /></a></div><p>Playing in Berlin (<a href="https://sinematranstopia.com/en/an-unfinished-revolution-a-second-look-at-iranian-cinema-before-1979/faryade-nime-shab" target="_blank">Sinema Transtopia</a>) on May 11, 2023.</p><p><br /></p><p><span style="font-size: x-large;"><b>I</b></span>n 1961, the Iranian-Armenian Samuel Khachikian, a figure of enormous talent known for his strong female characters and the use of crime cinema motifs, the latter giving him the title of “Iranian Hitchcock”, was at the peak of his success. That year, both titles topping the Iranian box office were his. Indeed, other directors imitated his style and he became the first "name above the title" of Iranian cinema. <i><b>Cry of Midnight </b></i>[Faryade Nime Shab], internationally also known as <i><b>Midnight Terror</b></i>, was an unofficial remake of Charles Vidor's 1948 film, <i><b>Gilda</b></i>. It portrays one of the essential femme fatales of Iranian cinema, Parvin Ghaffari, appearing alongside the popular star Fardin as a young man who becomes entangled with a criminal gang but eventually finds his way back to the innocent girl that he's in love with. – EK</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-61995553343223279352023-04-20T14:54:00.007+00:002023-04-20T14:54:49.347+00:0025 Fireman's Street (István Szabó, 1973)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU-KEM0R4Zwhzxsc8-oH1zWvMTNtmMdcDUj-vj5l-ql8tUJzoyhVUjApOuZihuGnqa3vhz7q1k8exSY48Sb1q5y6iso2Ye_foz2i8NgFo8c0Wt4qM0cRo3YxWLrhmNRvCx6WzNIZh2aUhf-m49V6eSHV6b405GhkjzpPv-xb8p21HQ1qSQ8f3_jHzUgw/s800/Tuzolto_utca_25_2_B_Muller_Magda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="800" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU-KEM0R4Zwhzxsc8-oH1zWvMTNtmMdcDUj-vj5l-ql8tUJzoyhVUjApOuZihuGnqa3vhz7q1k8exSY48Sb1q5y6iso2Ye_foz2i8NgFo8c0Wt4qM0cRo3YxWLrhmNRvCx6WzNIZh2aUhf-m49V6eSHV6b405GhkjzpPv-xb8p21HQ1qSQ8f3_jHzUgw/w421-h415/Tuzolto_utca_25_2_B_Muller_Magda.jpg" width="421" /></a></div><br /><b>25 Fireman's Street</b><p></p><p>István Szabó, 1973 | 98 mins</p><p>UK premiere of the new restoration at Close-Up Cinema (London) on May 28, 2023</p><p><br /></p><p>István Szabó's agile camera is an uninvited guest peeking into the private and collective memories of the residents of an apartment building in Budapest that is due to be demolished the next day. In a Cocteauesque quest into the inner life of a house (which also bears trace of early surrealists in its splendid and puzzling juxtapositions) some 50 years is remembered overnight. The breath-taking long takes that have the fluidity of a dream reconstruct the recent history of nation through bricks, windows, walls and wooden panels. Like Jacques Tati's <i><b>PlayTime</b></i>, architecture is both the starting point and what frames every movement – it's a living organ. But here the building reflects people's desires and traumas more than similar voyeuristic investigations of architecture and film as it even bears the subtitle of a "Dream About a House".<span></span></p><a name='more'></a><p></p><p>A milestone in film history for its intricate narrative and free-form imagery, <i><b>25 Fireman's Street</b></i> was partly inspired by Szabó's discovery of Dylan Thomas's <i>Under Milk Wood</i>. Each image can be seen as a metaphor of something larger, but perhaps, more rewardingly, as a photographic representation of a poetic probe which, at first, seems impossible to decipher but gradually allows for a pattern of thoughts to emerge in which history and personal memory of Hungarians fully complement each other.</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-75553097363529394252023-01-05T16:26:00.004+00:002023-01-05T16:26:49.207+00:00Si j'avais 4 dromadaires (Chris Marker, 1966)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvX276HqiEZNO77VcAgcQRngSMtBc3KklxM64UPC0fmrsm1XgMmaldCuhEkTq83QSmLSF4TMQUYFhZvp04c6UCFppFv07WwRN5Ur1WFgxl-wAMHlGLCGneTGPHGlamMuzbPyrOdK_gUMrRB4uISL5pIH30qrBus_l3dOu_XEPJ40cgyh-22I7iuphFHw/s1035/if%20i%20had%20four%20camels.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="761" data-original-width="1035" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvX276HqiEZNO77VcAgcQRngSMtBc3KklxM64UPC0fmrsm1XgMmaldCuhEkTq83QSmLSF4TMQUYFhZvp04c6UCFppFv07WwRN5Ur1WFgxl-wAMHlGLCGneTGPHGlamMuzbPyrOdK_gUMrRB4uISL5pIH30qrBus_l3dOu_XEPJ40cgyh-22I7iuphFHw/w448-h329/if%20i%20had%20four%20camels.jpg" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><p>Playing at <a href="https://www.closeupfilmcentre.com/film_programmes/2023/never-on-sunday/if-i-had-four-camels/" target="_blank">Closeup Cinema</a> in London on January 29, 2023. There'll be some surprise shorts screened before Marker's film. – EK</p><p><br /></p><p>Marker's underseen masterpiece, <i><b>Si j'avais 4 dromadaires</b></i> [If I Had Four Camels], with its originality and sole reliance on still photographs stands next to his best known work, La Jetée (1962). The photographs incorporated into the film were taken between 1956 and 1966 in many different countries (Greece, Russia, Iran, Cuba, China, France, Japan) as Marker was working for the Petite Planète travel guides or taking snap shots of his favourite people. Here, he offers his own travel guide to a changing word, a "Marker Planet" narrated by a mysterious, world-weary traveller who speaks like a poet and thinks like a philosopher. The narration evolves into three voices with contrasting opinions about the role of photography in constructing collective cultural memory. With an endless sense of irony and the quiet investigating of photographic image, this is one of the great works of the 60s. – Ehsan Khoshbakht</p><p><span></span></p><a name='more'></a><p></p><p>There is life and there is its double, and the photograph is part of the world of the double. When you approach [the faces of the photographed], you have the impression that you participate in their life and in the death of live faces, of human faces. But this is not true: if you participate in anything, it is in their life and in the death of images. – Chris Marker</p><p><br /></p><p><br /></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-52848571411746105162022-12-23T15:13:00.007+00:002022-12-23T15:16:13.989+00:00The Best Films of 2022<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrBfM8-7-MipJsnJBtR9Hcz0qscU7XQC5QkQbV66BQeUEif64IpmdXvdB9nB8g2ffxumB57wJFzLCI0XrjuS-DVXbQOb0r-iTZsOJ85q2l_dyNuyNZSpPlMFdBoz9NKHPxXG6VpwizFNURsnk9yOpuqPtb_bZAn7Y51mUGmXOkAY-WrwLbtw8ZlwMgvA/s1000/EO_film_2022.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="702" data-original-width="1000" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrBfM8-7-MipJsnJBtR9Hcz0qscU7XQC5QkQbV66BQeUEif64IpmdXvdB9nB8g2ffxumB57wJFzLCI0XrjuS-DVXbQOb0r-iTZsOJ85q2l_dyNuyNZSpPlMFdBoz9NKHPxXG6VpwizFNURsnk9yOpuqPtb_bZAn7Y51mUGmXOkAY-WrwLbtw8ZlwMgvA/w436-h306/EO_film_2022.jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">EO</td></tr></tbody></table><br /><p>My "top 10" of the year as submitted to and published on Sight & Sound. For the full list of the 97 voters and their picks go <a href="https://www.bfi.org.uk/sight-and-sound/polls/best-films-2022-all-votes" target="_blank">here</a>. – EK</p><p><br /></p><p><i><b>EO</b></i> (Jerzy Skolimowski)</p><p><i><b>Compartment No. 6</b></i> (Juho Kuosmanen)</p><p><i><b>See You Friday, Robinson</b></i> (Mitra Farahani)</p><p><i><b>The Eclipse</b></i> (Nataša Urban)</p><p><i><b>The King of Laughter</b></i> (Mario Martone)</p><p><i><b>Marx Can Wait</b></i> (Marco Bellocchio)</p><p><i><b>Jacques Tati, tombé de la lune</b></i> (Jean-Baptiste Péretié)</p><p><i><b>Maixabel </b></i>(Icíar Bollaín)</p><p><i><b>I Am Trying to Remember</b></i> (Pegah Ahangarani)</p><p><i><b>My Imaginary Country</b></i> (Patricio Guzmán)</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-28346082052630574192022-11-11T10:30:00.001+00:002022-11-11T10:30:13.497+00:00 How to Make a Retrospective<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqn2y5zfU0GJDwScBs-swi-z4H3uuL_Uu5fl-LwG_4V7EX6L3DLgb_YDyyNPCWu9bI2NWe55zVgkfv0yan4sK2l6YHhULb2ey3SHsQt5faBAvG-fhQlLFSxRlCLXXp1FtlV84LW33JbZKUqgmbec0q19d6AaYjhZHgUsQ-PVsk9-SVkGZ5hOYhaqTfSw/s1024/CFGG2_SCF13_Fregonese_SeiForzati_002_Columbia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="771" data-original-width="1024" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqn2y5zfU0GJDwScBs-swi-z4H3uuL_Uu5fl-LwG_4V7EX6L3DLgb_YDyyNPCWu9bI2NWe55zVgkfv0yan4sK2l6YHhULb2ey3SHsQt5faBAvG-fhQlLFSxRlCLXXp1FtlV84LW33JbZKUqgmbec0q19d6AaYjhZHgUsQ-PVsk9-SVkGZ5hOYhaqTfSw/w476-h358/CFGG2_SCF13_Fregonese_SeiForzati_002_Columbia.jpg" width="476" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b>My Six Convicts</b></i> by Hugo Fregonese. Still (c) Cineteca di Bologna</td></tr></tbody></table><br /><p>The talk How to Make a Retrospective will be given at the <a href="https://whatson.bfi.org.uk/Online/default.asp">BFI Southbank</a>, London as part of the <a href="https://www.independentcinemaoffice.org.uk/screening-days/archive-screening-days-2022/" target="_blank">Archive Screening Days 2022</a> (organised by Independent Cinema Office) on December 8, 2022.</p><p><span style="font-size: x-large;"><b>W</b></span>hat are the challenges and methods needed to bring cinema history to life? How can we frame a body of work so it can be shared more widely? In this wide-ranging presentation, filmmaker, film curator and writer Ehsan Khoshbakht demonstrates the process of mounting a major retrospective. In 2022, Il Cinema Ritrovato in Bologna – the world’s largest archive film festival – delivered a retrospective of director Hugo Fregonese. A neglected figure in Hollywood but with a history spanning his home country of Argentina as well as UK, Spain, West Germany and Italy, Fregonese’s life and career contained multitudes, and the retrospective introduced his work to a new generation. This session offers an insider’s view on the curatorial framework for building a retrospective as well as the practical challenges of sharing work outside regular circulation.</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-24373564453876190532022-10-18T10:27:00.000+00:002023-10-24T10:35:14.423+00:00Earthly Songs: Ebrahim Golestan at 100 – A Viennale retrospective<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlsm5zKhAHWFriSBkUXiXma0scvOgJGX8qcja5A-06uiAjDMrg72fQ6WNedw_lXgcRJjbTx4tbniqGcqQ0TQgNjwcxQ6mWYDfQzGA1HU2xVqWEVUxT9VsDixfvJmbb5MSenUqu4VLLtc1xwcCQ06n6XPF9tdw7-5_1GhUuyKaAUW7gFLeH4CgyPetSQ/s691/ebrahim%20Golestan.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="691" data-original-width="450" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlsm5zKhAHWFriSBkUXiXma0scvOgJGX8qcja5A-06uiAjDMrg72fQ6WNedw_lXgcRJjbTx4tbniqGcqQ0TQgNjwcxQ6mWYDfQzGA1HU2xVqWEVUxT9VsDixfvJmbb5MSenUqu4VLLtc1xwcCQ06n6XPF9tdw7-5_1GhUuyKaAUW7gFLeH4CgyPetSQ/w416-h640/ebrahim%20Golestan.jpg" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><p> <br />This retrospective took place in Vienna, as part of the <a href="https://www.viennale.at/en/series/monography-golestan?page=0" target="_blank">Viennale</a>. RIP Ebrahim Golestan (1922-2023) – EK</p><p><br /></p><p><u>Session#1: <a href="https://www.viennale.at/en/screening/session1-fires-forough" target="_blank">Fires of Forough</a></u></p><p><i><b>Fire-Fight at Ahvaz</b></i> (1958) / <i><b>A Fire</b></i> (1961) / <i><b>Courtship </b></i>(1961) / <i><b>The House Is Black</b></i> (1962)</p><p>Total running time: 88 mins</p><p>A look at Golestan's oil documentaries, as well as examining his collaboration with poet and filmmaker Forough Farrokhzad. In 1958, an oil well in southwest Iran caught fire. Abolghassem Rezaie, the son of one of the pioneers of Iranian cinema, made Fire-Fight at Ahwaz about the disaster. When Golestan saw the black-and-white footage, for which he wrote the narration, he saw that the story held even greater potential and decided to produce his own version of the events – this time in colour. Golestan's version, A Fire, proved to be his first major international success. It was edited by Farrokhzad, who combined her poetic sensibilities with Golestan's more symbolic approach. Farrokhzad also acted in Courtship, a short made for Canadian television, in which Golestan demonstrates a marvellous ability with mise-en-scène, especially in his assured use of the camera. In the same year, Farrokhzad made The House Is Black, set in a leper colony in northwest Iran. Celebrated as one of the greatest films ever made, it is a dialogue between the passions of the poet (Farrokhzad) and the voice of reason (Golestan).</p><span><a name='more'></a></span><p><br /></p><p><u>Session#2: <a href="https://www.viennale.at/en/screening/session2-jewels-earth-part-i" target="_blank">Jewels of Earth, Part I</a></u></p><p><i><b>Wave, Coral and Rock</b></i> (1961) / <i><b>The Crown Jewels of Iran</b></i> (1965) / [City Symphony] <i><b>Brick & Mirror</b></i> Outtake (1964)</p><p>Total running time: 60 mins</p><p>Wave, Coral and Rock chronicles the laying of oil pipelines in the south of Iran. Even though the directorial credit went to Alan Pendry – a former assistant to Bert Haanstra – he was, in fact, called in at the last minute when Golestan was hospitalised following a terrible car crash, forcing him to send the crew his instructions from his hospital bed. It is ultimately Golestan's editing and commentary that elevate the story, and give the film its poetic style. Though the film looks at its subject from above and below, for the most part it stays close to the soil. It touches on other themes too, such as the “patient process of nature” and the “toil and intellect of man”, before ending with a highly political statement about the people of Iran, who have no share of the oil wealth. Wave, Rock and Coral was followed by the even more controversial The Crown Jewels of Iran. Ostensibly a showcase for the collection of precious jewels kept in the treasury of the Central Bank of Iran, it is in fact a bold attack on the treachery of the Persian kings. This, Golestan's most visually dazzling documentary, is like a work of musical composition; as seen in the simple act of ploughing, which is spread across shots of various sizes and angles, creating an intimate visual symphony. </p><p><br /></p><p><u>Session#3: <a href="https://www.viennale.at/en/screening/session3-jewels-earth-part-ii" target="_blank">Jewels of Earth, Part II</a></u></p><p><i><b>Persian Story</b></i> (1952) / <i><b>Harvest and Seed</b></i> (1965) / <i><b>The Hills of Marlik</b></i> (1963)</p><p>Total running time: 65 mins</p><p>Harvest and Seed, never before shown outside Iran, is a study in the conditions of a poverty-stricken Iranian village after the land reforms of the early 1960s. Rather than leading to a distribution of wealth, the financial and political power has merely changed hands from one corrupt element to another. Copies of the film were immediately confiscated. A different view on the question of land use is offered in The Hills of Marlik, which focuses on a 3,000-year-old site in the north of Iran, simultaneously excavated by archaeologists and fertilized by farmers. Another example of Golestan’s interest in the classical elements, here the past touches the present and there is a clear continuity among the forms of human life detected by the camera, as it breathes new life into dead objects. Golestan pays scrupulous attention to sound too; quite often the music – an excellent contribution by Morteza Hannaneh, one of the most innovative Iranian composers of his era – goes silent, in order to amplify the sound of brushes caressing a broken piece of pottery.</p><p><br /></p><p><u>Session#4: <a href="https://www.viennale.at/en/film/khesht-va-ayeneh" target="_blank">Brick and Mirror</a></u></p><p><i><b>Brick and Mirror </b></i>(1964)</p><p>Total running time: 130 mins</p><p>Iranian cinema’s first true modern masterpiece is a Dostoyevskian exploration of fear and responsibility, the tale of a Tehran cab driver’s search for the mother of an abandoned baby. Production began in the spring of 1963 with a small crew of five, and without a finished script. The only written part – the driver and the woman in the ruins – became the basis for the first shoot. This was followed by improvised scenes in the vegetable market of Tehran. When the camera lens broke during the shooting of a scene in the Palace of Justice, the production was delayed. On June 5, 1963, while the crew awaited the shipment of a new lens from France, a protest arose against the arrest of Ayatollah Khomeini. This added to the sense of lurking unrest depicted in the film. With its title alluding to a poem by Attar (‘What the old can see in a mudbrick/youth can see in a mirror.’) the film moves between realism and expressionism. It features a very rare use of direct sound in Iranian cinema (the detail emphasised by the lack of any score), which complements the claustrophobic use of widescreen. An unforgettable and bleak image of a society of corrupted morals and widespread alienation, the restored version returns to the director’s original vision, featuring scenes never seen before.</p><p><br /></p><p><br /></p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0tag:blogger.com,1999:blog-3814117458688785258.post-5521715772921901382022-09-29T08:51:00.007+00:002022-09-29T08:52:27.982+00:00Chess of the Wind: The Glorious Miniature of an Upheaval<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3qZTD78uv3ZC4z_mHnF2QdlfnL9KTocwsSvM2y_8Y92oLBYJpMlZMbNiDKwpUE5A2WMCfEu5Iay7773ZhXlB_KXhLJKZfJv8oZRwJmaTpGo2qqxwae3KKK0dFRLLSusGNNIiFWPdhsvc3J3TaIFpaS7JThjtgd9N1QFoVfylPNlxmwcsncZ1ZicCdw/s984/7732.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="589" data-original-width="984" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3qZTD78uv3ZC4z_mHnF2QdlfnL9KTocwsSvM2y_8Y92oLBYJpMlZMbNiDKwpUE5A2WMCfEu5Iay7773ZhXlB_KXhLJKZfJv8oZRwJmaTpGo2qqxwae3KKK0dFRLLSusGNNIiFWPdhsvc3J3TaIFpaS7JThjtgd9N1QFoVfylPNlxmwcsncZ1ZicCdw/w454-h272/7732.jpg" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chess of the Wind</td></tr></tbody></table><br /><p>When <i><b>Chess of the Wind</b></i> premiered in November 1976, at the fifth Tehran International Film Festival, nobody knew what to make of it. A mix-up in the order of the reels at the first of three screenings—either a technical issue or a deliberate act of sabotage—made the plot almost unintelligible, while faulty projector lamps meant that the interior scenes, certain of which are artfully lit using candlelight, appeared so dark that viewers became angry. Moreover, despite the film’s historical setting—the drama unfolds in a feudal mansion, following the death of a matriarch—this tale of deceit and intrigue was a little too close to the bone for a society that had become increasingly polarized since the beginning of the seventies. Complete with breaks in the fourth wall, a delicately handled lesbian scene (the first of its kind in Iranian cinema), and an ending in which a working-class woman overthrows a male-dominated household and liberates herself, this enigmatic work was both perplexing and reflective of a changing Iran...</p><p style="text-align: center;"><span style="font-size: medium;"><a href="https://www.criterion.com/current/posts/7932-chess-of-the-wind-the-glorious-miniature-of-an-upheaval?fbclid=IwAR2nElbDnC8JXJCQ1QSFrTkEl2adM5H94rdvYWx8XXURFYQwyeBGeQslGX4" target="_blank">Read the full essay on Criterion website</a></span></p><p style="text-align: center;">*</p>Ehsan Khoshbakhthttp://www.blogger.com/profile/03005110975164267813noreply@blogger.com0