The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
Shakespeare's plays offer endless potential for adaptation, but sometimes, as is true of Geoffrey Wright's Macbeth (2006), when these reinterpretations fail we get a clearer impression of the original's genius.
The French Fantômas films Fantômas, Fantômas Unleashed, Fantômas vs. Scotland Yard and similar crime film projects in Britain, Germany, and the US are related by secret, labyrinthine, diabolical blueprints of unfathomable complication.
Eric Tretbar'sFirst Person Plural and PBS' shorts Muslim Youth Voices both offer new representations of Somali-Americans. A significant contribution, given the Islamophobic frameworks that structure most cinema, television, and popular culture in general.
Dismissed as "trash" in their day, Charles Bronson films Rider on the Rain and Cold Sweat belong to a Golden Age of internationally co-produced Euro-thrillers that combine pulp storytelling with stylistic elegance and intense emotion.
Directors Christopher Caldwell and Zeek Earl reflect on a lack of wisdom for their practical film school with their debut feature, Prospect, and an aspiration to evade the trappings of sci-fi filmmaking.
While Anthony Asquith's Shooting Stars and Underground look excellent on Kino Lorber's digital restoration, Arthur Robison's The Informer, looks most spectacular, thanks to working from the original negative and a tinted nitrate print.
João Moreira Salles's melancholic documentary, In the Intense Now (No Intenso Agora) stitches together amateur footage of the riots of 1968 to create a riveting rumination on the glee and disillusionment of idealism.