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Kult Film [DVD] (English subtitles)

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O: Yes, I had that. For the first month; then it was gone. I used to do the band's feature movies and that’s all scripted. You know what everything is doing and wearing and what is around them. But in documentaries you need to know what you want to display on the screen and then find it. You need a little bit more patience and you need to avoid trying to force it happening. O: No, I don’t feel that. I hope they don’t. I know them personally and I don’t feel they were acting. They actually seemed to have forgotten about the camera. I’m also producing their show features and we’ve done 60 of them by now. The first time, they’re like, “Oh, don’t say too much, Olga’s filming us”. But then they slowly forgot the presence of the camera. I didn’t want to fake anything, to have people thinking that there’s something fishy about the movie that it’s not real. I never gave them indications. Perhaps more than any decade before or since, due largely to the home video market, the 1980s was a great time for cult films. Part of the attraction with these movies designated with cult status is that they are decidedly different and much more provocative than mainstream populist fare. The campy, kitschy, OTT excessiveness of it all makes Lady Terminator a lively, sexually charged, and silly pisstake on gender politics, Western beliefs, and irresponsible Western ideology. Oh, and did I mention that Lady Terminator has lethal eye lasers?

Armed only with a treasure map, some Baby Ruth candy bars, a few zany inventions, their wits, and a bag of marbles, will the Goonies be good enough to find the fortune, and with it save their neighborhood from demolition? And will the image of a tormented Chunk (Jeff Cohen) doing the “truffle shuffle” at Clark “Mouth” Devereaux’s (Feldman) mean-spirited request ever fade from your memory? Mladen Pechevski is a film industry freelancer currently based in Sofia, Bulgaria. In 2019, he was a jury member of the Giornate degli Autori section at the 76 th Venice International Film Festival and was subsequently heavily involved in organizing the autumn edition of the Sofia International Film Festival for Students. In 2020, he worked as an assistant consultant for the Giornate degli Autori section at the 77 th Venice International Film Festival. Mladen is passionate about European cinema and would like to further acquire first-hand experience covering international festivals as a film critic. Bogdan Balla is a Romanian experimental film director and freelance film critic based in Bucharest. He studies film directing at the National University of Theatre and Film and writes for FILM MENU. Besides directing and producing his own films, he also works as an independent freelance film critic. He reads bell hooks and is passionate about queer cinema. He has a preference for working with archival footage for his films.It’s also fair to say that this is a film for extreme fans but, that said, admirers of David Cronenberg (particularly 1983’s Videodrome) and David Lynch (shades of 1977’s Eraserhead are ample) might dig some of the surreal strangeness as well.

With a funny and fast-paced script by Chris Columbus, from a story by Steven Spielberg (who executive produced), this idiosyncratic and very Scooby Doo-like actioner set in Astoria, Oregon, pits a group of young misfit kids (including Sean Astin, Josh Brolin, Corey Feldman, Kerri Green, and Martha Plimpton) against a family of criminals (including Joe Pantoliano and Anne Ramsey) in a race to retrieve the long-lost treasure of fabled 17th-century pirate, One-Eyed Willy. F: You said that you’ve been shooting this film for more than six years. Were there any scenes that you really liked that didn’t make it to the final cut? I was ten years old when director Richard Donner unleashed his silly, pre-teen adventure epic The Goonies and I fully admit that, as a result, my mantra for a time became: “Goonies never say die!”This is a nostalgic grab bag of funhouse s and thrills that meant a lot to audiences as kids and may mean even more to them now as sentimental adults. Svetlana Semenchuk is anauthor of such publications on cinema as “Seanse”, “The Art of Cinema”, “Cinema TV” and other.The author-composer of the books “S. M. Eisenstein: pro et contra: Sergey Eisenstein in national reflection: anthology” and “E. F. Bauer: pro et contra. Eugene Frantsevich Bauer in assessments of contemporaries, colleagues, researchers, film critics. Anthology”. Teacher of the St. Petersburg New Cinema School, and at the St. Petersburg State University of Cinema and Television. Director and co-screenwriter Kathryn Bigelow bravely reimagines the vampire mythos with a trailer-park Americana sensibility in her astonishing sophomore film, Near Dark. A genre mashup of two formulaic film types––the Western and the vampire movie––Near Dark also offers a romantic and contradictory fable for the midnight movie crowd. You have to be patient to make this kind of film because of the amount of footage you have to skim through. So, yeah, there are many scenes I would have loved to add but I have to separate what I love about them and focus on what the audience wants to see.

The cult film experience differs from conventional cinema by appealing to unique sensibilities, be it the counterculture, genre films, or niche audiences that joyfully zero in on taboo content and proscribed subject matter that deliriously upends convention with razor-sharp satire, exploitation, and/or legitimate ideological dangers or controversial content. Denisa Jašová is a PhD student of Audiovisual Studies at Academy of Performing Arts in Bratislava. As a Film Studies and Archival Science graduate, she specializes on archival research in film and TV history, especially on Czechoslovak amateur film and TV non-fiction programmes from 70s and 80s. She also works as aresearcher for TV documentaries, as alibrarian in the Central European House of Photography and as atalk show host in student radio talk show called Cinefil. She frequently writes for magazine Film.sk, IFF Cinematik Piešťany and her first paper about the history of Slovak amateur film will be released in October 2019 in Kino-Ikon magazine. She simply loves film archives.

City of the Living Dead (1981)

No one sets out to make a cult film. Not really, anyway. No matter how low their professed ambitions, if someone is going to go through all the trouble of writing, casting, directing, financing and shooting a movie, somewhere in their auteurist heart, they’re wishing to score a leftfield hit – the next ‘little low-budget indie that could.’ Most of the time, cultdom is the best they can settle for. But hey, there are much worse fates for any piece of art. In fact, as time has gone on, and the phrase has become more commonly understood, filmmakers have started to wear ‘cult’ as a badge of honour. And well they should – especially given the company they keep. Tommaso Tocciis based in Italy, where he works as a film critic and translator covering film festivals across Europe for international publications. He has also worked for Berlinale Talents and for the Edinburgh International Film Festival, and he currently serves as Co-Programmer for the Saas-Fee Film Festival in Switzerland. With great gags, stunningly silly production design, and overflowing quotable quips, it’s no wonder discriminating audiences ate it up. Impressed by his strange stage show at the Groundlings theater, Warner Brothers contracted Paul Ruebens to write a feature based around his quirky, child-like überbrat persona, Pee-Wee Herman. Inspired, strange as it sounds, by Italian neo-realist innovator Vittorio De Sica (specifically his celebrated 1948 film, The Bicycle Thief), Reubens wrote one honey of a nonconformist comedy and found the ideal director, a former Disney animator looking to leap into live-action features, Tim Burton.

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