An inept Slovak peasant is torn between greed and guilt when the Nazi-backed bosses of his town appoint him “Aryan controller” of an old Jewish widow’s button shop. Humor and tragedy fuse in this scathing exploration of one cowardly man’s complicity in the horrors of a totalitarian regime. Made near the height of Soviet oppression in Czechoslovakia, The Shop on Main Street features intense editing and camera work which won it the Academy Award™ for Best Foreign Film in 1965.
As nervy as it is hilarious, this screwball masterpiece from Ernst Lubitsch stars Jack Benny and, in her final screen appearance, Carole Lombard as husband-and-wife thespians in Nazi-occupied Warsaw who become caught up in a dangerous spy plot. To Be or Not to Be is a Hollywood film of the boldest black humor, which went into production right before the U.S. entered World War II. Lubitsch manages to brilliantly balance political satire, romance, slapstick, and wartime suspense in a comic high-wire act that has never been equaled.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm: Take One, the pioneering William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a breakup scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies, expanded thirty-five years later by its unconventional follow-up, Symbiopsychotaxiplasm: Take 2½. The “sequel” sees Take One actors Audrey Henningham and Shannon Baker reunited in a more personal, metatheatrical exploration of the effects of the passage of time on technology, the artistic process, and relationships—real and fabricated.
To date, the first three books have been adapted into television miniseries; the first, Tales of the City, was produced by the UK's Channel 4 and was first screened in the UK in 1993, then shown on PBS in the US in January 1994. Channel 4 eventually teamed up with the American cable network Showtime to produce the sequel, More Tales of the City, which premiered in the US and UK in 1998. The third installment of the series, Further Tales of the City, was produced by Showtime (without Channel 4) and was originally aired in the US on Showtime in May 2001. A fourth installment, Armistead Maupin's Tales of the City, premiered on Netflix on June 7, 2019, with Laura Linney, Olympia Dukakis, Barbara Garrick and Paul Gross reprising their roles.
The Triplets of Belleville (French: Les Triplettes de Belleville) is a 2003 animated comedy film written and directed by Sylvain Chomet. It was released as Belleville Rendez-vous in the United Kingdom. The film is Chomet's first feature film and was an international co-production among companies in France, Belgium, Canada and the United Kingdom.
The film features the voices of Lina Boudreault, Mari-Lou Gauthier, Michèle Caucheteux, Jean-Claude Donda, Michel Robin, and Monica Viegas. There is little dialogue; much of the narrative is conveyed through song and pantomime. It tells the story of Madame Souza, an elderly woman who goes on a quest to rescue her grandson Champion, a Tour de France cyclist, who has been kidnapped by the French mafia for gambling purposes and taken to the city of Belleville (an amalgam of Paris, New York City, Montreal and Quebec City). She is accompanied by Champion's loyal and obese hound, Bruno, and joined by the Triplets of Belleville, music hall singers from the 1930s, whom she meets in the city.
The film was highly praised by audiences and critics for its unique style of animation. The film was nominated for two Academy Awards—Best Animated Feature and Best Original Song for "Belleville Rendez-vous". It was also screened out of competition (hors concours) at the 2003 Cannes Film Festival.
Keisuke Kinoshita’s Twenty-Four Eyes (Nijushi no hitomi) is an elegant, emotional chronicle of a teacher’s unwavering commitment to her students, her profession, and her sense of morality. Set in a remote, rural island community and spanning decades of Japanese history, from 1928 through World War II and beyond, Kinoshita’s film takes a simultaneously sober and sentimental look at the epic themes of aging, war, and death, all from the lovingly intimate perspective of Hisako Oshi (Hideko Takamine), as she watches her pupils grow and deal with life’s harsh realities. Though little known in the United States, Twenty-Four Eyes is one of Japan’s most popular and enduring classics.
