In Harold Robbins’ fictional account of early Hollywood movie making, pioneer filmmaker Johnny Edge comes to Hollywood in the early 20th century with dreams and helps build the orange-grove community into an entertainment capital.
rarefilmm | The Cave of Forgotten Films Posts
Four women whose husbands are in prison come together; at first, for emotional support; later, they devise a scheme to rob a bank.
Sasha, a young British woman, is living with her baby daughter at Ile d’Yeu, a peaceful beach community. A stranger appears. Her name is Tatiana, she’s passing through, and pitches her tent in Sasha’s yard. The two women build an odd rapport, and tension builds as events unfold.
In Buenos Aires, a few days before traveling to Spain with his beloved wife Liliana Rovira to visit their son Pedro, the leftist Literature professor Fernando Robles is compulsory retired in the University. The ongoing economic crisis does not allow Fernando to get a new job. Liliana decides to sell her family’s apartment and the couple move to a small farm near Villa Dolores to reduce their expenses. Fernando comes up with the idea to grow lavender and sell the oil to the perfume industry.
Former police psychologist Rob helps to save young Chrissy when she is about to commit suicide by jumping of 21st-story balcony with her 4-year-old son Jake. When he persuades her to go on a date, they are trapped with Jake and old Pat in an elevator because a drunken gang crashed into the elevator’s engine room.
In this family classic, two orphans cross the Rocky Mountains on a quest to claim their inheritance, a 400-acre Oregon ranch. On their journey, the pair forms an uncertain alliance with a drifter and together they go on the adventure of a lifetime.
Author/illustrator Sanpei Shirato’s Ninja bugei-cho was a popular graphic novel serialized across Japan in the 1960s, well loved by students and leftist radicals for its tale of a young boy’s alliance with a band of ninja during a peasant uprising. Nagisa Oshima takes an experimental approach to adaptation; out of deep respect for Shirato’s artistry (and his usual cinematic prankishness), he films Shirato’s images as they appear on the page, like an anime version of Sans soleil, with the camera hovering and darting over each “scene” to provide movement and life. Adding voices, sound effects, and a narration that connects the plot’s myriad strands, Oshima intervenes in yet another unexpected genre to create a fascinating treatise on cinema, narrative, and action.