A young neurosurgeon inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. In the castle he finds a funny hunchback, a pretty lab assistant and the elderly housekeeper. Young Frankenstein believes that the work of his grandfather was delusional, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind.
Tag: 1970s
Having been adopted by the madam of a southwestern brothel, a now adult Adrian must cope with the fact that he’s Satan’s kid, and not living up to his expectations. Sequel to Roman Polanski’s 1968 film but unlike the original, this one has little connection with the novel the first film was based on.
A wealthy landowner haunted by the spectre of his dead mother has a fling with a beautiful fugitive who bears a striking resemblance to his missing wife, who may have been murdered.
In Italy, gambler and poetry professor Daniele Dominici arrives in the seaside town of Rimini and is hired to teach for four months at a high school, replacing another teacher. His relationship with his partner Monica is in crisis and he spends most of the time with his new acquaintances and gamblers Giorgio Mosca, Marcello, and Gerardo Pavani. In the classroom he meets 19-year-old student Vanina Abati, who is Gerardo’s girlfriend, and they fall in love. Their relationship leads to a tragic end.
Here the different poses of the artist provide the raw material for Peter Kubelka to create an ecstatic work that deals with rhythm and repetition, as much as with human actions and automatisms. Together with Mosaic and Afrikareise, Kubelka considers this to belong to his metaphoric film work.
A compassionate study of aged women living in a retirement home through the observations of Jean Campbell as she moves from room to room talking with other inmates and discussing her experiences within the institution.
Brocani conjures together all your favourite European cultural and historical myth figures in order to attack the centuries of ‘sublimation’ that have produced our cities and their inhabitants. The gang’s all here: Frankenstein’s monster gropes towards the awareness that his mind is a universe; Attila, naked on a white horse, liberates his people from their ignominy; the ultra-caustic Viva bemoans the frustrations of married life and drifts into the elegiac persona of the Bloody Countess Bathory; Louis Waldon is a hip American tourist searching for the (missing) Mona Lisa. The range is extraordinary, from stand-up Jewish comedy to a kind of flea-market expressionism. Brocani’s approach is contemplative rather than agitational, which confounds the impatient; Gavin Bryars’ lovely Terry Riley-esque score matches the ambience exactly.