Three American tourists explore Quebec guided by an imaginative leader, in an atmosphere of health and good humor. Baroque incidents, romance, and satire on society unfold, aiming to evoke monumental laughter from Quebecers.
Anthony Steffen, as a young gunman who works as a circus performer, witnesses the killing of some outlaws, carried out by their leader and is credited with the deed.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.
Documentary by Juan Francisco de Lasa about a pioneer of Spanish cinema. Gelabert attended one of the first sessions of the Lumière's cinématographe in Barcelona.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding.
The Three Kingdoms period begins as the walled fortress of Hsin Yang falls to invaders. Centered around this historical event, The Last Days of Hsin Yang follows the escape of the prince of Hsin Yang as he hides with a small family and escapes from the sacked and burning city.
A baleful limping man walks through Prague. He is Asmodeus (Juraj Herz), the fiend of lustfulness, entertaining himself by putting together by magic couples of lovers.
Comments
Have you watched C'est pas la faute à Jacques Cartier yet? What did you think about it?