‘Six in Paris’ Cuts the City into New Wave Slices of Sex and Death
Filming with a handheld 16mm color camera, six filmmakers offer a cohesive snapshot of 1966 Paris and their obsessions with sex and death.
Filming with a handheld 16mm color camera, six filmmakers offer a cohesive snapshot of 1966 Paris and their obsessions with sex and death.
In Emilio Fernández’s Victims of Sin, a galaxy of important Mexican film and music artists collaborate on a tale of mambo music, martyred mothers, and melodrama.
Sci-fi movies Unknown Terror, The Colossus of New York and Destination Inner Space inject monsters into personal melodrama for masculine redemption.
Angry old men, sexy strumpets, moonshiners, corrupt sheriffs, and dumb farmhands populate them thar hills in these two low-budget ’60s hicksploitation films.
The family is the source of neurosis, and any hint of an allegedly happy ending in these three film-noirs must happen over someone’s dead body.
Catherine Turney, a top-drawer writer of classic films about strong women, adapts her supernatural novel The Other One for Back from the Dead.
Time of the Heathen is a nightmarish, hyper-edited, avant-garde freak-out as atomic angst and racial woes wend their way toward Shakespearean tragedy.
In Éric Rohmer’s ‘Tales of the Four Seasons’, everything exists on an elevated Expressionist plane; every detail dovetails into its hermetic philosophies and ironies.
World of Giants is catnip and dog-nip and gopher-nip for connoisseurs of classic sci-fi TV ’50s style, aka, the art of really short half-hour storytelling.
Fantasy, comedy, romance, reincarnation, animals and murder are ingredients for You Never Can Tell, a whimsical story with spoofs of film noir.
In 13 episodes, lost TV wonder 21 Beacon Street is an uncanny and legally actionable precursor to the Mission Impossible franchise.
A female Tarzan and her gorilla, a horse that revenges his murdered master, mothers, and comical aviators make the scene in these silent film jewels.