Me Too (2012): The post-nuclear rapture according to Balabanov

Me Too (Я тоже хочу, 2012) is the last film by the notorious Russian director Aleksei Balabanov (Brother, Cargo 200). The last both in the sense of the latest and perhaps the one marking the end of his career. After Venice’s Orizzonti, the film was presented in the programme of Seville European Film Festival, which,

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Me Too (2012): The post-nuclear rapture according to Balabanov

Me Too (Я тоже хочу, 2012) is the last film by the notorious Russian director Aleksei Balabanov (Brother, Cargo 200). The last both in the sense of the latest and perhaps the one marking the end of his career. After Venice’s Orizzonti, the film was presented in the programme of Seville European Film Festival, which,

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Amphibian Man (1962): Cousteau, Disney and a lovable gill-man from the USSR

When Hollywood was sweating its guts out to lure Americans away from TV screens with all sorts of cinematic spectacle, Soviets set out to “catch up and outdo”. Thus Amphibian Man (Человек-амфибия, 1962), directed by Vladimir Chebotaryov and Gennadi Kazansky, became the first fiction film in the history of the world cinema mostly shot under water. 

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Amphibian Man (1962): Cousteau, Disney and a lovable gill-man from the USSR

When Hollywood was sweating its guts out to lure Americans away from TV screens with all sorts of cinematic spectacle, Soviets set out to “catch up and outdo”. Thus Amphibian Man (Человек-амфибия, 1962), directed by Vladimir Chebotaryov and Gennadi Kazansky, became the first fiction film in the history of the world cinema mostly shot under water. 

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Sexy Latvian creature feature: The Spider (1991)

It’s Halloween and we thought we’d mark the occasion with a post about one-of-a-kind erotic horror film from Latvia – The Spider (Zirneklis, directed by Vasili Mass, 1992) The film was released the next year after Latvia restored its independence from the Soviet Union, which places it in the historically curious context of the Soviet

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Sexy Latvian creature feature: The Spider (1991)

It’s Halloween and we thought we’d mark the occasion with a post about one-of-a-kind erotic horror film from Latvia – The Spider (Zirneklis, directed by Vasili Mass, 1992) The film was released the next year after Latvia restored its independence from the Soviet Union, which places it in the historically curious context of the Soviet

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Top Sitges films

A little post scriptum to our Sitges chronicle: the top of all 54 films we saw in Sitges rated from 0 to 10.

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Top Sitges films

A little post scriptum to our Sitges chronicle: the top of all 54 films we saw in Sitges rated from 0 to 10.

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4 things about the future of cinema you’ll have to cope with

We finish our chronicle with some conclusions we’ve made after recovering from Sitges movie overdose. 1) Metafictions, and metafictions once again Meta-narratives in film, although hardly new, are becoming bolder and more daring, still holding the capacity to amaze. First of all, the curious crossbreed of metastory and found footage V/H/S is definitely opening new horizons for both. Seven Psychopaths‘ unique

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4 things about the future of cinema you’ll have to cope with

We finish our chronicle with some conclusions we’ve made after recovering from Sitges movie overdose. 1) Metafictions, and metafictions once again Meta-narratives in film, although hardly new, are becoming bolder and more daring, still holding the capacity to amaze. First of all, the curious crossbreed of metastory and found footage V/H/S is definitely opening new horizons for both. Seven Psychopaths‘ unique

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Sitges 2012 Chronicle, Part V

Sitges Film Festival brings a brief hiatus to our usual exploration of Soviet and Russian films. We’ve saved some real cinematic treasures for the final part of our festival chronicle. Spring Breakers Although they say Harmony Korine’s new film Spring Breakers has nothing to do with his usual style, I would on the contrary describe

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Sitges 2012 Chronicle, Part V

Sitges Film Festival brings a brief hiatus to our usual exploration of Soviet and Russian films. We’ve saved some real cinematic treasures for the final part of our festival chronicle. Spring Breakers Although they say Harmony Korine’s new film Spring Breakers has nothing to do with his usual style, I would on the contrary describe

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Sitges 2012 Chronicle, Part IV

Sitges Film Festival brings a brief hiatus to our usual exploration of Soviet and Russian films. Today we are talking about some of the most expected films of the festival. Sinister I’m starting to have a feeling that we’ll never see the day when the haunted house formula will be revolutionised. The promotional material of Sinister

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Sitges 2012 Chronicle, Part IV

Sitges Film Festival brings a brief hiatus to our usual exploration of Soviet and Russian films. Today we are talking about some of the most expected films of the festival. Sinister I’m starting to have a feeling that we’ll never see the day when the haunted house formula will be revolutionised. The promotional material of Sinister

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We’re first to see Paranormal Activity 4

We love Sitges. This time they surprised us with the world premiere of Paranormal Activity 4. If the viewer was fed on prequels until now, the fourth film of the saga finally picks up a few years after where the first two left off. We are not going to bore you with plot synopsis and

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We’re first to see Paranormal Activity 4

We love Sitges. This time they surprised us with the world premiere of Paranormal Activity 4. If the viewer was fed on prequels until now, the fourth film of the saga finally picks up a few years after where the first two left off. We are not going to bore you with plot synopsis and

/ One Comment

Sitges 2012 Chronicle, Part III

These days we are enjoying Sitges Film Festival, so it’s time for a brief hiatus in our usual exploration of Soviet and Russian films. We bring you the third part of our festival chronicle, featuring some gourmet cinematic treats! Chained David Lynch’s first feature film Eraserhead, looking past all the surrealistic frills, was about an unwanted

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Sitges 2012 Chronicle, Part III

These days we are enjoying Sitges Film Festival, so it’s time for a brief hiatus in our usual exploration of Soviet and Russian films. We bring you the third part of our festival chronicle, featuring some gourmet cinematic treats! Chained David Lynch’s first feature film Eraserhead, looking past all the surrealistic frills, was about an unwanted

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Sitges 2012 Chronicle, Part II

These days we are enjoying Sitges Film Festival, so it’s time for a brief hiatus in our usual exploration of Soviet and Russian films. The festival is in high gear, and today we return with the second part of our festival chronicle. Due to the nature of Sitges festival films, the ‘movie overdose’ here is

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Sitges 2012 Chronicle, Part II

These days we are enjoying Sitges Film Festival, so it’s time for a brief hiatus in our usual exploration of Soviet and Russian films. The festival is in high gear, and today we return with the second part of our festival chronicle. Due to the nature of Sitges festival films, the ‘movie overdose’ here is

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Sitges 2012 Chronicle, Part I

These days we are enjoying Sitges Film Festival, so it’s time for a brief hiatus in our usual exploration of Soviet and Russian films. We sleep 3 hours and watch 6 films a day to give you some hints about upcoming cinematic thrills you should be excited about. So here we go:  The Bay The

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Sitges 2012 Chronicle, Part I

These days we are enjoying Sitges Film Festival, so it’s time for a brief hiatus in our usual exploration of Soviet and Russian films. We sleep 3 hours and watch 6 films a day to give you some hints about upcoming cinematic thrills you should be excited about. So here we go:  The Bay The

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A Kiss from Mary Pickford (1927): Soviet and American cinemas in dialogue

In the year of the tenth anniversary of the October Revolution, when Eisenstein makes his famous October: Ten Days That Shook the World (Октябрь: десять дней, которые потрясли мир), a frivolous comedy film A Kiss from Mary Pickford (Поцелуй Мэри Пикфорд,1927), directed by Sergei Komarov, appears on the Soviet screens. I find it worth attention

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A Kiss from Mary Pickford (1927): Soviet and American cinemas in dialogue

In the year of the tenth anniversary of the October Revolution, when Eisenstein makes his famous October: Ten Days That Shook the World (Октябрь: десять дней, которые потрясли мир), a frivolous comedy film A Kiss from Mary Pickford (Поцелуй Мэри Пикфорд,1927), directed by Sergei Komarov, appears on the Soviet screens. I find it worth attention

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A Nail to your Brain: schizoid art trash Nails (2003)

Tetsuo: The Iron Man was often described as a collaboration of Lynch and Cronenberg on an early draft of Terminator, which was to be shot in Japan. If so, then the Russian budget-less underground film Nails (Гвозди, 2003) is a project of Lynch’s and Cronenberg’s bastard children, who due to the shortage of cash, had

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A Nail to your Brain: schizoid art trash Nails (2003)

Tetsuo: The Iron Man was often described as a collaboration of Lynch and Cronenberg on an early draft of Terminator, which was to be shot in Japan. If so, then the Russian budget-less underground film Nails (Гвозди, 2003) is a project of Lynch’s and Cronenberg’s bastard children, who due to the shortage of cash, had

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