A merchant from Toulon (Raimu) of honorable appearance is in fact a receiver for a band of criminals. Threatened with blackmail, he commits a murder for which an innocent man is condemned ... See full summary »
Renata and Carlo covet the same apartment in Rome. They first quarrel but Carlo finds an original way out: what if they married and shared the place? Renata agrees but on one condition: ... See full summary »
Vittorio De Sica,
Peppino De Filippo
In a future United States, the only transport available to an individual is public transportation. Predicated on an assertion that "the oil has run out", an increasingly totalitarian ... See full summary »
Co-curated by Karl Knapper and Jenni Olson, Afro Promo is a feature-length compilation of one-of-a-kind, archival coming attractions trailers from black films of the 1940s, '50s, '60s and ... See full synopsis »
In the Mossi culture, one of the rites attending the birth of a child and its induction as a new member of the community involves the burial of the placenta. The space in which the placenta... See full summary »
A playboy golf pro down is on his luck. Kicked off the circuit for alleged cheating he is forced to hustle for a living. Moving from one Country Club to another, he uses his talents to ... See full summary »
Jill St. John
Japan's answer to Rocky Balboa delivers exactly what the title (a more literal translation of which would be 'The Old One-Two') promises: a crude, colorful portrait of a Japanese boxer who stages a dramatic and dangerous comeback after suffering brain damage in the ring. The film is based in part on the true story of welterweight champ Hidekazu Akai: an ignorant, profane, and unpredictably violent character portrayed (in a remarkably natural performance) by Akai himself. The film is something of a departure from the high-tech futurism of recent Japanese imports; it's more a back-street character study than a glossy comeback drama. The fight scenes, because they feature actual boxers, have none of the phony crowd-pleasing heroics of their Hollywood counterparts, but the film is no less lively or entertaining for that. At one point the champ even extinguishes a cigarette on his tongue, something the Italian Stallion surely never attempted.
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