In the slums of Osaka, various marginalized misfits have their own interpretations of love. Completely alienated from the outside world, they commit sexual perversions, violence and cannibalism.
Category: Cult
The early 1970s were very good to glam rockers Slade. In their native Britain, they invaded the charts with 17 Top 20 hits, including six at #1. Devoted fans couldnt play Slades anthem-rock loud enough, and the band played to packed clubs and concert halls all across the country. Like The Beatles and The Who, Slade too was seduced by the call of celluloid. In 1975, the band answered that call, starring in the critically lauded Slade in Flame. A darker kind of Spinal Tap, the film features the band starring as a fictitious version of themselves, while taking a gritty, realistic look at the underbelly of the music industry, where hustlers, sharks and managers prey upon hot new bands.
American reporter Mark English attempts to get an exposé on how magician/hypnotist The Great Vorelli manages his stage illusions, but is foiled when Vorelli sets his attention on English’s girlfriend Marianne Horn. Vorelli’s dummy Hugo seems to have a mind of its own, and the ability to walk … and for reasons that Mark can’t get anyone to believe, even after Vorelli puts Marianne in a coma-like trance.
A bored insurance salesman quits his job to go into politics. He first starts preaching about how man is greater than he thinks and that man can live forever. He ends up forming his own political party, “The Eternal Man” party. He begins to be referred to as “God”. Then he starts having doubts about the eternalness of man.
The young advertising manager Igor is surprised in his studio apartment by his beloved wife Hanna with his mistress Christine. Hanna forces the two with a gun to repeat the act in front of her. The two women come to terms with Igor and get the idea to realize a ménage à trois…
Surrealist film based on a nightmare. Arsène, a lonely and restless young man suffering from persecution mania, tries to protect himself from thieves – and from himself – by setting traps in his home. Helplessly he assists in the robbery and looting of his house by a couple of kleptomaniac girls, whom he has deliberately taken to his house. Fascinated by them, during the night he becomes his own executioner and the plaything of destructive childhood fantasies. Thus the prediction of the traps seller who had diagnosed his “fear of being robbed” is fulfilled.
Oliveira’s fourth feature, adapted from a play by his close friend José Régio, was one of his major breakthroughs as a filmmaker: a fable about a deeply sheltered young woman who tells her wealthy, religious parents that she’s been impregnated in the wake of an angelic visitation. It’s possible to take Benilde, or the Virgin Mother as a scathing denouncement of religious hypocrisy, a veiled response to the abuses of the Salazar regime, or a set of obsessive, carefully staged formal exercises—or some combination of the three.
A phantasmagoric, definition-defying film from perhaps France’s premier underground filmmaker, Treasure of the Bitch Islands begins with the mysterious disappearance of an engineer who has discovered a new energy source, and follows a post-nuclear Ulysses’ voyage to find the substances used in the engineer’s formula, only to be harvested on an island of mad scientists and headhunters.