The futility and irony of the war in the trenches in WWI is shown as a unit commander in the French army must deal with the mutiny of his men and a glory-seeking general after part of his force falls back under fire in an impossible attack.

Fred C. Dobbs and Bob Curtin, both down on their luck in Tampico, Mexico in 1925, meet up with a grizzled prospector named Howard and decide to join with him in search of gold in the wilds of central Mexico. Through enormous difficulties, they eventually succeed in finding gold, but bandits, the elements, and most especially greed threaten to turn their success into disaster.

1948 American film directed by John Huston

As of November 1, 1959, mild mannered C.C. Baxter has been working at Consolidated Life, an insurance company, for close to four years, and is one of close to thirty-two thousand employees located in their Manhattan head office. To distinguish himself from all the other lowly cogs in the company in the hopes of moving up the corporate ladder, he often works late, but only because he can't get into his apartment, located off of Central Park West, since he has provided it to a handful of company executives - Mssrs. Dobisch, Kirkeby, Vanderhoff and Eichelberger - on a rotating basis for their extramarital liaisons in return for a good word to the personnel director, Jeff D. Sheldrake. When Baxter is called into Sheldrake's office for the first time, he learns that it isn't just to be promoted as he expects, but also to add married Sheldrake to the list to who he will lend his apartment. Dobisch, Kirkeby, Vanderhoff and Eichelberger are now feeling neglected as Baxter no longer needs their assistance in moving up.

Eve Harrington (Anne Baxter) is waiting backstage to meet her idol, talented but aging Broadway star Margo Channing (Bette Davis). It seems innocent enough as Eve explains that she has seen Margo in EVERY performance of her current play. Margo and her friends take Eve under their wing but only theatre critic Addison DeWitt (George Sanders) sees through Eve's evil plan, which is to take Margo's parts and her fiancé, Bill Simpson (Gary Merrill) too.

Mima leaves the idol group CHAM, in order to pursue her dream as an actress. Mima climbs up the rocky road to success by performing as rape victims and posing nude for magazines, but is haunted by her reflections of the past.

Nishi, a police detective, has had to deal with a series of emotionally devastating events over the recent past. His only child, then preschool age, died two years ago. His wife, currently in the hospital, has been diagnosed with a terminal case of leukemia. And he develops a case of guilt when his colleague Horibe, during a stakeout which Nishi himself was supposed to be on but who, on Horibe's suggestion, was visiting his wife in the hospital instead at the time, gets shot point blank. That guilt is only exacerbated when Horibe, who as a result becomes paraplegic, is abandoned by his wife and child, with Horibe himself at a loss with what to do with his life as being a police was his sole identity. As a means to cope, Nishi becomes increasingly reckless, which affects the way he does his police work. That recklessness extends to his personal life when his wife's doctor recommends that she go home, Nishi, in the process, borrowing money from the yakuza to make ends meet. That recklessness also leads to him taking matters into his own hands as he tries to make his and his wife's life together, for however long it will last, a series of small yet special moments.

Tang Lung arrives in Rome to help his cousins in the restaurant business. They are being pressured to sell their property to the syndicate, who will stop at nothing to get what they want. When Tang arrives he poses a new threat to the syndicate, and they are unable to defeat him. The syndicate boss hires the best Japanese and European martial artists to fight Tang, but he easily finishes them off. The American martial artist Colt is hired and has a showdown with Tang in Rome's famous Colosseum.

Kiyoshi is a brooding young man who treats women solely as objects. Makoto is a young woman who is just reaching her sexual awakening. She and her friends accept car rides from middle-aged men, saying it's nothing more than fun and they have no intention of leading on those men. Kiyoshi and Makoto meet when he saves her from one of those middle-aged men trying to take advantage of her. Despite abusing each other, they start a relationship which leads to what they call love, but feels more like an emotional dependence on each other to rebel against traditional society. Neither has money, so they start to extort money from these middle-aged men of hers. This is only one demonstration of the only power they feel they have: sex, which they use against others as well as each other in their doomed relationship.

As much a film of its moment as Sweet Smell of Success and just as lasting in its pertinence, this cruel satire is Masumura's masterpiece - although an excellent script (from a Ken Kaiko novel) and terrific cast deserve their share of the credit. Three confectionery companies are locked in cut-throat rivalry for a share of a market increasingly dominated by imported US candy. Goda (Takamatsu), a thrusting young exec with World Caramel, spots a young woman out shopping and decides to turn her into a celebrity who can star in his plan for a space age ad campaign. Kyoko Shima (Nozoe), averagely pretty and with exceptionally bad teeth, takes to the Pygmalion treatment like a duck to water and soon leaves behind her job with a failing taxi firm and her dysfunctional family. Goda's assistant Nishi (Kawaguchi), who dates a woman exec from a rival firm and proves a useless industrial spy, watches as both the girl and his boss succumb to mega-greed; the film's ending turns on whether or not Nishi will have the balls to go his own moral way or submit to the diktats of Japan Inc. nicely paced, wittily conceived and imaginatively designed, this is the best of all proto-new wave movies.Director Masumura here explores the non-ceasing battle between pursuit of profits and business ethics in Japan's increasingly cut-throat corporate world.

Bored rich kids. Natsuhisa, 20, constantly teases his brother Haruji, 16, about girls. They arrive by train for a summer at the beach; at the station, Haruji spots a young woman and can think of nothing else for the next few days. When they cross paths again - she's Eri - Haru invites her to a party at the house of a friend whose parents are divorced. They start a slow courtship. Then, Natsuhisa discovers Eri's secret; instead of it ending everything, Natsuhisa initiates a triangle by seeking the favors of his younger brother's girl. Haru is unaware of this betrayal. What will happen when he finds out?

In the Fourteenth Century, during a civil war in Japan, a middle-aged woman and her daughter-in-law survive in a hut in a field of reed killing warriors and soldiers to trade their possessions for food. When their neighbor Hachi defects from the war and returns home, they learn that their son and husband Kichi died while stealing supplies from farmers. Soon Hachi seduces the young widow and she sneaks out of her hut every night to have sex with him. When the older woman finds the affair of her daughter-in-law, she pleads with Hachi to leave the young woman with her since she would not be able to kill the warriors without her help. However, Hachi ignores her request and continues to meet the young woman. When a samurai wearing a demon mask stumbles upon the older woman at her hut asking her to guide him out of the field, she lures him and he falls in the pit where she drops the bodies of her victims. She climbs down the hole to take his possessions and his mask, and she finds he is a disfigured man. The she uses the demon mask to haunt her daughter-in-law to keep her away from Hachi. However, when she decides to remove the mask, she has a surprise.

In Okayama in the mid-1930s, Kiroku attends high school and boards with a Catholic family whose daughter, Michiko, captures his heart. He must, however, hide his ardor and other aspects of his emerging sexuality, focusing his energy on a gang he joins, breaking school rules, and getting into scuffles (he tells her, "Oh, Michiko, I don't masturbate, I fight"). He comes under the influence of a young tough nicknamed Terrapin, and together they lead fights against rival gangs. Gradually, Kiroku and Terrapin align themselves with the right-wing Kita Ikki, and Kiroku becomes a stand-in for the attitudes of Japanese youth who embraced the imperialism leading to World War II.

Jumpei Niki, a Tokyo based entomologist and educator, is in a poor seaside village collecting specimens of sand insects. As it is late in the day and as he has missed the last bus back to the city, some of the local villagers suggest that he spend the night there, they offering to find him a place to stay. That place is the home of a young woman, whose house is located at the bottom of a sand pit accessible only by ladder. He later learns that the woman's husband and child died in a sandstorm, their undiscovered bodies buried somewhere near the house. The next morning as he tries to leave, he finds that the ladder is gone - he realizing that the ladder he climbed down was a rope ladder which is anchored above the pit - meaning that he is trapped with the young woman as the walls of the pit are sand with no grip. He also realizes that this entrapment was the villagers and the young woman's plan for him to stay there permanently to be her helper in the never-ending task of digging out the sand, which if not done will swallow them alive. They are dependent upon the villagers to help remove the sand, but also for their rations including water. He learns that the sand is the young woman's life, and that she knows or wants no other life. Thus, it is no use either to blackmail or kill her as she is willing to live and die by this life, and as such he will surely die if she is dead. His life tasks become to figure out a way to escape while co-exist with the woman in what he considers their prison. As time goes on, he also learns that there are other tasks which will consume him.

1964 Japanese film directed by Hiroshi Teshigahara

After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and punish whomever gives away sex (who falls in love). Maya, a young woman whose family has died, joins the group. Into the mix comes Shin, a thief who's killed a G.I. The women allow him to hide while recovering from wounds, but then he won't leave. Maya is drawn to him, discovering as she falls in love that she can feel again; she's now more fully human, but at the same time, she's endangered herself and her livelihood. Can she and Shin make it out of Tokyo to establish life as a couple?

General Watchlist

movie

Niko Aiello

I guess I’m more of an arthouse snob than I thought

1979 American war film directed by Francis Ford Coppola

Best of All Time

1987 American science fiction parody movie directed by Mel Brooks

Sci-Fi and/or Horror 

2014 film directed by John Michael McDonagh

Watchlist 2.0

Books to Read

Fellini = fantasy/baroque, Pasolini = sexuality, Rossellini = war, Visconti = decadence/decline of nobility

Italian Neorealism

1970s Italian crime/action films. Born out of the French gangster film resurgence of the late 1960s-1970s, as well as the cultural turmoil in Italy at the time. Violence, vigilantism, corruption, “greatness of the working class protagonist over the corrupt bureaucracy”

1973 poliziottesco film directed by Sergio Sollima

Poliziotteschi Films

Post-Colonialism, nostalgia, modernity and youth culture, and the ultimate cultural identity of Hong Kong

Hong Kong New Wave

German films, 1962 - 1982, born out of the Oberhausen Manifesto. Disillusionment with post-War Germany, rejection of mainstream German cinema and art, socially critical. Would go on to influence Italian Neorealism, Nouvelle Vague, and British New Wave

1979 film directed by Volker Schlöndorff

Neuer Deutscher Film

Italian Comedies from the 1950s to 1970s: lots of satire, lots of "socially taboo" subjects, usually to the background of the working class with some sprinkles of social criticism