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“If my films don't show a profit, I know I'm doing something right.” Woody Allen
Monday, April 27, 2009 @ 11:42 AM

I have been going a bit overload on my personal blog with new films coming out. I consolidated them here to share with you as well.

These films may fall under "indie" or whatever those titles people put to films that don't get played at giant theatres with an army of ushers in merlot vests and video arcades and 100 different screening rooms split neatly under "chick flick," "dude flick" and "family." I have been told I have a pretentious taste, but I really don't. It's expensive to go to the theatre these days so I just make my selections very carefully. Also, I'm not a fan of happy endings (I'm not opposed them by any means, just when they are so fabricated and forced) which Hollywood films all have. God forbid we let our good Americans leave the theatre with any other thought than "happy" "funny!" "cooooooool....." or "heart throb, SIGH." I don't take prescription happy pills in real life and I certainly don't need them crushed into my movie reels. I watch "depressing" films and I don't need Prozac but people that watch "happy" movies pop them like it's hot. Hmmm... Give me Life everwhere. You know what I mean? Then you'll be able to really live this life. I'll also never understand why so many people are turned off by subtitles. Last time I checked the literacy rate was 99% (and I just checked it.)




a heart-rending tale of abandonment told through the perspective of a little girl left to fend for herself and protect her younger sister.





A portrait of a seemingly ordinary Japanese family. The father who abruptly loses his job conceals the truth from his family; the eldest son in college hardly returns home; the youngest son furtively takes piano lessons without telling his parents; and the mother, who knows deep down that her role is to keep the family together, cannot find the will to do so. From the exterior, all is normal and the same. But somehow, a single, unforeseeable chasm has appeared within the family, threatening to disintegrate them. Director Kurosawa’s use of light and dark to express a sense of simultaneous hope and horror verges on awe-inspiring and the ending will leave you enthralled.





Beloved and devoted priest from a small town volunteers for a medical experiment which fails and turns him into a vampire. Physical and psychological changes lead to his affair with a wife of his childhood friend who is repressed and tired of her mundane life. The one-time priest falls deeper in despair and depravity. As things turns for worse, he struggles to maintain whats left of his humanity.





n 1922, Madrid is wavering on the edge of change as traditional values are challenged by the dangerous new influences of Jazz, Freud and the avant-garde. Salvador Dali arrives at the university; 18 years old and determined to become a great artist. His bizarre blend of shyness and rampant exhibitionism attracts the attention of two of the university's social elite - Federico Garcia Lorca and Luis Bunel. Salvador is absorbed into their youthfully decadent group and for a time Salvador, Luis and Federico become a formidable trio, the most ultra-modern group in Madrid. However as time passes, Salvador feels and increasingly strong pull towards the charismatic Federico - who is himself oblivious of the attentions he is getting from his beautiful writer friend, Magdalena. In the face of his friends' preoccupations - and Federico's growing renown as a poet - Luis sets off for Paris in search of his own artistic success. Federico and Salvador spend the holiday in the sea-side town of Cadaques. Both the idyllic surroundings and the warmth of the Dali family sweep Federico off his feet. Salvador and Frederico draw closer, sharing their deepest beliefs, inspirations and secrets, convinced that they have found a kind of friendship not dreamed of by others. It is more that a meeting of the minds; it is a fusion of souls.



Cheers,
m.

MichelleJaneLee

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