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The master of the French New Wave indicts consumerism and elaborates on his personal vision of Hell with this raucous, biting satire. A nasty, scheming bourgeois Parisian couple embarks on a journey through the countryside to her father's house, where they pray for his death and a subsequent inheritance. Their trip is at first delayed, and later it is distracted by several outrageous events and characters including an apocalyptic traffic jam, a group of fictional philosophers, a couple of violent carjackers, and eventually, a gross display of cannibalism. By the time the film concludes, their seemingly simple journey has deteriorated into a freewheeling philosophical diatribe that leaves no topic unscathed. With WEEKEND, Jean-Luc Godard reaches an impressive plateau of film originality, incorporating inter-titles, extended tracking shots, and music to add an entirely new grammar to film language. The result is a deeply challenging work that will most certainly invigorate some viewers just as much as it will as frustrate others. Standout highlights include a jarring, sexually graphic opening monologue shot with a roaming camera and blaring musical accompaniment, and the infamous traffic jam scene, where an endless parade of cars sit bumper to bumper amidst burning cars, picnics, and honking horns. The work of a true artist and pioneer, Godard's WEEKEND is a landmark film that hasn't aged or lessened in impact over time.
Copyright (C) Muze Inc. 2005.
For personal use only.
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Malaysian born, Taiwan-based writer-director Tsai Ming-Liang's (REBELS OF THE NEON GOD) third feature is a languorously paced, darkly absurdist tale of a troubled Taipei family. One afternoon, Xiao-Kang (Lee Kang-sheng) visits a movie set, and is drafted by the director (Ann Hui) to play a corpse floating in the grimy Tamsui River. Afterwards, the young man is plagued by excruciating chronic neck pain. Xiao-Kang searches for a cure while his parents lead their distinct lives--his mother (Lu Hsiao-ling), a bored restaurant worker, has a dissatisfying affair with a pornographic video salesman (Lu Shiao-Lin), while his gruff father (Tien Miao), leads a secret homosexual life of cruising and assignations in saunas. Each family member inhabits a separate sphere within their cheap, prefab apartment, where they pass wordlessly like strangers. As Xiao-Kang fruitlessly battles his blight from the poisonous river, his father struggles to keep water from flooding through the spare room's ceiling. Meanwhile, the familial relationships further disintegrate, mirroring the deterioration of Xiao-Kang's body and the apartment's infrastructure. Aided by his talented stock company of actors, Tsai uses a masterful procession of mundane yet metaphor-rich images and a stillness rarely broken by dialogue to illustrate the family's inexorable drift towards one quietly horrifying moment.THE RIVER was screened in June 2001 at Walter Reade Theater in New York City as part of Urban Ghosts and Legends: The Cinema of Tsai Ming-Liang organized by the Film Society of Lincoln Center.DVD Features:Region 0Keep CaseLetterboxed - 1.85Additional Release Material: TrailersInteractive Features: Scene Access Interactive MenusText/Photo Galleries: FilmographiesDVD-ROM Features: Web Links
Copyright (C) Muze Inc. 2005.
For personal use only.
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The Sex Pistols' mantra no future takes on literal resonance in Victor Gaviria's powerful film about growing up on the streets of drug capital Medellin, Colombia. Centered around punk protagonist Rodrigo D's (Ramiro Meneses) attempt to transcend the poverty and violence of his urban environment through petty crime and rock music, the film's authenticity is only bolstered by its gritty quasidocumentary style and the use of nonprofessional actors culled from the streets of Medellin--many of whom were jailed or died violently even before the film's release.DVD Features:Region 1Keep CaseFull Frame - 1.33Additional Release Material: TrailerInteractive Features: Scene Access Interactive Menus
Copyright (C) Muze Inc. 2005.
For personal use only.
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More spooky, erotic fun with beauties Charine Chan and Amy Yip.DVD Features:Region 0 (All Regions)Keep CaseLetterboxedAudio: Dolby Digital Stereo - Chinese/ CantoneseSubtitles - English, Chinese - OptionalAdditional Release Material: TrailersInteractive Features: Scene Access Interactive MenusText/ Photo Galleries: Filmographies - Cast& Crew
Copyright (C) Muze Inc. 2005.
For personal use only.
All rights reserved.

Daniel Burman`s LOST EMBRACE is a charming, effervescent portrait of a twentysomething man who can`t seem to find his place in a rapidly shifting world. After dropping out of college, Ariel (Daniel Hendler) returns home to work in his mother`s lingerie store in a Buenos Aires shopping mall. Through his eyes, viewers meet the mall`s various shop owners: Osvaldo, who owns a stationary store; the Levin Brothers, who run a fabric business; Rita, who runs the nearby Internet cafi, and enjoys getting intimate with Ariel in his shop`s dressing room; and many more. While helping beautiful woman try on skimpy clothing isn`t the worst job in the world, Daniel nonetheless dreams of something bigger. He decides to take advantage of his grandmother`s Polish heritage and obtain a Polish passport, which will enable him to embrace an entirely new culture. But when his long-lost father, Elias (Jorge D`Elia), returns, Ariel must finally stop chasing his daydreams and face up to reality. After discovering the real reason Elias abandoned his family, Ariel comes to a wholly unexpected, and deeply profound, realization. Filmed with fly-on-the-wall immediacy by cinematographer Ramiro Civita, LOST EMBRACE is a humane slice-of-life dramedy that features an incredible performance from Hendler.
Copyright (C) Muze Inc. 2005.
For personal use only.
All rights reserved.