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**A film with some charm and lack of originality, but which works well as a family film, and which deserves to be brought back from oblivion.** This production from the 90s, currently somewhat forgotten, is another film without any bones that we can watch with our grandmothers and our children by our side, and which deserves to be revisited and cherished. I can understand why it fell into the deepest forgotten films: it's not a remarkable production, it's not one of those films that leaves a mark on us for life. However, it does its job impeccably. The story is quite nice, even if it has nothing original: four friends meet again many years after having separated to pursue their lives, and the bond of friendship that has united them since childhood is reinforced by the reunion, full of nostalgia and good memories. There are lots of films about situations like this, and with similar themes, this is not new, but it is well done. The film has four good adult actresses (Demi Moore, Rita Wilson, Rosie O'Donnell and Melanie Griffith) and four promising ones (Christina Ricci, Thora Birch, Gaby Hoffmann and Ashleigh Aston Moore), since the four main characters are played today and at puberty, twenty years earlier. This is very interesting, but the truth is that there are not even similarities between the young actresses and their adult counterparts: the most blatant case is the character Roberta, where I really don't see any physiognomic similarity between Ricci and O'Donnell. Of course, people change… but not radically. If we forget this uncomfortable detail, the work of the eight protagonists is quite good, and each one has time and opportunities to show what they are worth. On a technical level, the film is strictly nothing special. The recreation of the 1970s fails because it is not very evident, that is, there are no elements, in the sets or props on stage, that help us understand the era in which the action takes place. The setting has a certain charm and good taste (I especially liked the gas lamps), and the tree house is very beautiful, as are the filming locations and cinematography. But that's it.
In the winter of 1978, under Chile's military regime in Santiago, Raúl Peralta, a lonely and disabled architectural model maker, lives a quiet life with only his ailing mother and a pet canary for company. His routine is upended by the arrival of new neighbors whose sinister activities seem to hide dark secrets. Desperately clinging to the last remnants of his sanity, Raúl’s life increasingly intertwines with Guillermo, a mysterious man in dark glasses. As reality unravels, the echoes of Raúl's past collide with the horrors of his present in a psychological thriller that leaves behind deep, indelible scars.
The star of a team of teenage crime fighters falls for the alluring villainess she must bring to justice.
When their ocean liner capsizes, a group of passengers struggle to survive and escape.
Anaïs is twelve and bears the weight of the world on her shoulders. She watches her older sister, Elena, whom she both loves and hates. Elena is fifteen and devilishly beautiful. Neither more futile, nor more stupid than her younger sister, she cannot understand that she is merely an object of desire. And, as such, she can only be taken. Or had. Indeed, this is the subject: a girl's loss of virginity. And, that summer, it opens a door to tragedy.
A psychologist is sent to a space station orbiting a planet called Solaris to investigate the death of a doctor and the mental problems of cosmonauts on the station. He soon discovers that the water on the planet is a type of brain which brings out repressed memories and obsessions.
In the poverty-stricken favelas of Rio de Janeiro in the 1970s, two young men choose different paths. Rocket is a budding photographer who documents the increasing drug-related violence of his neighborhood, while José “Zé” Pequeno is an ambitious drug dealer diving into a dangerous life of crime.
During the 1972 Olympic Games in Munich, eleven Israeli athletes are taken hostage and murdered by a Palestinian terrorist group known as Black September. In retaliation, the Israeli government recruits a group of Mossad agents to track down and execute those responsible for the attack.
New York Times reporter Sydney Schanberg is on assignment covering the Cambodian Civil War, with the help of local interpreter Dith Pran and American photojournalist Al Rockoff. When the U.S. Army pulls out amid escalating violence, Schanberg makes exit arrangements for Pran and his family. Pran, however, tells Schanberg he intends to stay in Cambodia to help cover the unfolding story — a decision he may regret as the Khmer Rouge rebels move in.
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Former policeman Lenny Nero has moved into a more lucrative trade: the illegal sale of virtual reality-like recordings that allow users to experience the emotions and past experiences of others. While they typically contain tawdry incidents, Nero is shocked when he receives one showing a murder.
While waiting for her divorce papers, a repressed literature professor finds herself unexpectedly attracted by a carefree, spirited young woman named Cay.