Petro is a modest farmhand living in an impoverished village in some unspecified long-ago era. He wants to marry the lovely Pidorka, but her stern father won't hear of it. The mischievous demon Basavriuk, offers a deal, enticing Petro into crime for the sake of fortune.
The impressionistic story of a Texas family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father.
Reporter John Klein is plunged into a world of impossible terror when fate draws him to the sleepy West Virginia town of Point Pleasant, whose residents are being visited by a great winged shape that sows hideous nightmares and fevered visions.
Every culture has one – the horrible monster fueling young children's nightmares. But for Tim, the Boogeyman still lives in his memories as a creature that devoured his father 16 years ago.
Stifled Ania, trapped in a grimy grocery store, is suffocating under her mother’s toxic control. Salvation arrives via a discarded cauliflower that, unsettlingly, starts talking.
In the early eighteenth century, foreign rule means dark times for the Hutsuls of the Carpathians. The two Dovbush brothers become opryshkos - mountain outlaws.
A seaman finds himself out of work and stranded in a distant port. He shares a cheap room. They take turns sleeping, some in the morning, some at night.
Alternative movies trailers for The Eve of Ivan Kupalo
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The Eve of Ivan Kupalo (Yuri Ilyenko)
A sample from the movie "The Eve of Ivan Kupula" from 1968 by Yuri Ilyenko. Read a review at ...
Popular movie trailers from 1968
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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.
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.
Three identical prints of a single 100 foot fixed-camera take are shown from beginning to end-roll light-flare, with a few feet of blackness preceding/bridging/following the rolls.