Lucia. After the curfew. Pixote. Dos monjes. Soleil Ô. Downpour.
Notes:
Aspect ratio: 1.37:1 (After the curfew, Dos monjes, Soleil Ô, Downpour); 1.66:1 (Lucia); 1.85:1 (Pixote). Lucia: Raquel Revuelta, Eduardo Moure, Idalia Anreus. After the curfew: A. N. Alcaff, Netty Herawaty, Dhalia. Pixote: Fernando Ramos da Silva, Jorge Julião, Gilberto Moura. Dos monjes: Victor Urruchua, Carlos Villatoro, Magda Haller. Soleil Ô: Robert Liensol, Théo Légitimus, Gabriel Glissant. Downpour: Parviz Fannizadeh, Parvaneh Massoumi, Manuchehr Farid, Mohammad Ali Keshavarz, Pazrvin Soleimani, Mehri Vedadian. New introductions to all films by World Cinema Project founder Martin Scorsese. Excerpts from an interview with Soleil Ô director Med Hondo conducted by his cinematographer François Catonné in 2018. New interview with director Bahram Beyzaie on Downpour. New English subtitle translation for Soleil Ô. Special features: remastered digital soundtrack for Limite, created from archival recordings; New introductionsto the films by World Cinema Project founder Martin Scorsese; new interview programs; booklet with essays.
Contents:
[disc 6]. Downpour. [disc 2]. After the curfew -- [disc 3]. Pixote -- [disc 4]. Dos monjes -- [disc 5]. Soleil Ô -- [disc 6]. Downpour.
Summary:
Lucia (1968): Traces episodes in the lives of three Cuban women, each named Lucía, from three different historical periods: the Cuban war of independence (with Spain), the 1930s, and the 1960s. After the curfew (1954): A hero of revolution returns to civilian life to find the new society very different from the ideals he fought for. Pixote (1980): With a blend of harsh realism and aching humanity, Pixote offers an electrifying look at youth fighting to survive on the bottom rung of Brazilian society, and a stinging indictment of the country's military dictatorship and police. Dos monjes (1934): When an ailing monk recognizes a new brother at his cloister, he becomes deranged and attacks him. Dos Monjes recounts the men's tragic shared past onced from the point of view of each, heightening the contrasts between the two accounts with visual flourishes drawn from the language of German expressionism, including camera work by avant-garde photographer Agustin Jiminez. Soleil Ô (1970): Soleil Ô follows a starry-eyed immigrant as he leaves West Africa and journeys to Paris in search of a job, a community, and intellectual engagement- but soon discovers a hostile society where his very presence engenders fear and resentment. Downpour (1972): When he takes a job as a schoolteacher in a new neighborhood, the hapless intellectual Mr. Hekmati finds that he is a fish out of water.
Series:
The Criterion collection ; 1045-1050.
OCLC:
(OCoLC)1200760735
Locations:
FXPH314 -- Carnegie-Stout Public Library (Dubuque)
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.