Toni Collette

Harvey Keitel

Tom Hughes

Rossy de Palma

Adding a little spice to a waning marriage, Anne and Bob, a wealthy and well-connected American couple, move into a manor house in romantic Paris. While preparing a particularly luxurious dinner for sophisticated international friends, our hostess discovers there are thirteen guests. Panic-stricken, Anne insists her loyal maid Maria disguise herself as a mysterious Spanish noble woman to even out the numbers. But a little too much wine, and some playful chat, lead Maria to accidentally endear herself to a dandy British art broker. Their budding romance will have Anne chasing her maid around Paris and finally plotting to destroy this most unexpected and joyous love affair.

Madame

Madame (2017)

Jocelin Donahue

Jason Mewes

Jack Kehler

Young-goo (Hyung-rae Sim) the son of mafia boss Don Carini (Harvey Keitel), is too foolish to be part of the mafia elite. One day, Young-goo comes to his father and is trained by Tony V (Michael Rispoli) to be his father's successor. A few days later, Young-goo accidentally rescues Nancy (Jocelin Donahue), the only daughter of Don Bonfante, the boss of a rival mafia family. But Vinnie (Jason Mewes), an under-boss of the Bonfante family kidnapped her and fabricates that Young-goo has taken her. Vinnie's behavior provokes an armed conflict between the two families. —Kookyunii

The Last Godfather

The Last Godfather (2010)

Gabriel Byrne

Gina McKee

Toyah Willcox

A trusted driver must deal with his dead boss' Muslim mistress, her dark past pulling him into a life-and-death showdown with her notorious gangster cousin/ex-husband.

Lies We Tell

Lies We Tell (2017)

AnnaLynne McCord

Kathrine Narducci

Charlotte McKinney

Serving a life sentence in one of Israel's toughest prisons, Mikki Levy never thought he'd ever see the light of day. But when's he's released early on a technicality, Mikki moves to New York hoping for a fresh start. Living with his uncle in Brooklyn, the harsh reality of life as an ex-con sets in and he gets dragged into a brutal turf war with the Russian mob, forcing him to revisit his dark past, and the survival skills he learned in prison. Mikki aggressively ascends the ranks of the underworld, but his tenacious drive may be the cause of his demise.

First We Take Brooklyn

First We Take Brooklyn (2018)

Viggo Mortensen

Thandie Newton

Iain Glen

The London police is having trouble with organized crime commited by juvenile delinquents. Their leader is an American who is an expert at turning young men into ruthless gangsters. American cop John Harris is asked to help the London police to break up the organization.

The Young Americans

The Young Americans (1993)

Ana Ularu

Luke Mably

Alec Secareanu

An unassuming young lawyer leads a fight against the Nazis near the end of World War II.

Chosen

Chosen (2016)

Marlon Brando

Elizabeth Taylor

Robert Forster

U.S. Army Major Weldon Penderton (Marlon Brando) is stationed on a base in the American south. He and his wife Leonora Penderton (Dame Elizabeth Taylor) are in an unsatisfying marriage. Weldon is generally a solitary man who in his time alone tries to bolster his self image as he feels less than adequate as a man and a Major. He does not want to viewed like Captain Murray Weincheck (Irvin Dugan), who has been bypassed for promotion time and time again solely because he is seen as being too sensitive. Self absorbed Leonora, when not focused on her passion of horses and riding, tries to maintain the façade of being what she sees an officer's wife should be while she carries on an affair with their next door neighbor, married Lieutenant Colonel Morris Langdon (Brian Keith). Morris' wife, Alison Langdon (Julie Harris), suffered a nervous breakdown three years ago after miscarrying her child, she is still with that nervous constitution. Alison is generally drawn toward sensitive types, ...

Reflections in a Golden Eye

Reflections in a Golden Eye (1967)

Jake Weber

Bill Paxton

Thomas Kretschmann

In the midst of World War II, the battle below the seas rages. The Nazis have the upper edge as the Allies are unable to crack their war codes. That is, until a wrecked U-boat sends out an SOS signal, and the Allies realize this is their chance to seize the 'enigma coding machine'. But masquerading as Nazis and taking over the U-boat is the smallest of their problems. The action really begins when they get stranded on the U-boat.

U-571

U-571 (2000)

Forest Whitaker

Ellen Burstyn

Brenda Blethyn

Forest Whitaker plays a parolee, who finds Allah inside, and tries to get his life on track after 18 years. He's off to a good start with a job, a bank account, and a good woman. Of course his old partner in crime tries hard to get him to come back to his old ways, but the real problem is the sheriff in town who won't let him forget his dark past. —bbickley13-921-58664

Two Men in Town

Two Men in Town (2014)

Farrah Fawcett

Kirk Douglas

Roy Dotrice

Two lovers stationed at a remote base in the asteroid fields of Saturn are intruded upon by a retentive technocrat from Earth and his charge: a malevolent eight-foot robot. Remember, in space, no one can hear you scream. —Keith Loh

Saturnus 3 - salainen avaruusasema

Saturnus 3 - salainen avaruusasema (1980)

Robert De Niro

Martin Scorsese

Vincent Price

The future is set for Tony and Michael - owning a neighbourhood bar and making deals in the mean streets of New York city's Little Italy. For Charlie, the future is less clearly defined. A small-time hood, he works for his uncle, making collections and reclaiming bad debts. He's probably too nice to succeed. In love with a woman his uncle disapproves of (because of her epilepsy) and a friend of her cousin, Johnny Boy, a near psychotic whose trouble-making threatens them all - he can't reconcile opposing values. A failed attempt to escape (to Brooklyn) moves them all a step closer to a bitter, almost preordained future.

Mean Streets

Mean Streets (1973)

Steve Buscemi

Tim Roth

Michael Madsen

Six criminals, who are strangers to each other, are hired by a crime boss, Joe Cabot, to carry out a diamond robbery. Right at the outset, they are given false names with the intention that they won't get too close and will concentrate on the job instead. They are completely sure that the robbery is going to be a success. But, when the police show up right at the time and the site of the robbery, panic spreads amongst the group members, and two of them are killed in the subsequent shootout, along with a few policemen and civilians. When the remaining people assemble at the premeditated rendezvous point (a warehouse), they begin to suspect that one of them is an undercover cop. —Soumitra

Reservoir Dogs

Reservoir Dogs (1992)

Leighton Meester

Toby Jones

Kenny Wormald

Nick Tortano is a smooth-talking, ambitious criminal from the streets of Boston. After years spent working for and idolizing the Italian gangsters he finally proves himself to the boss and becomes a made man. However, once inside, Nick conflicts with a moneymaker for the Mafia and begins to drive a wedge between him and Boss. —Anonymous

By the Gun

By the Gun (2014)

Theresa Russell

Carolyn Seymour

Denholm Elliott

The setting is Vienna. A young American woman is brought to a hospital after overdosing on pills, apparently in a suicide attempt. A police detective suspects foul play on the part of her lover, an American psychology professor. As doctors try to save her life, the detective interrogates the professor, and through flashbacks we see the events leading up to the woman's overdose; her stormy and intensely sexual relationship with the professor, her heavy drinking and numerous affairs, and her estrangement from her Czech husband. A darkly erotic study of several rather unsympathetic characters. —Marty Cassady

Outo intohimo

Outo intohimo (1980)

Paul Calderon

Vincent Laresca

Paul Hipp

A police Lieutenant goes about his daily tasks of investigating homicides, but is more interested in pursuing his vices. He has accumulated a massive debt betting on baseball, and he keeps doubling to try to recover. His bookies are beginning to get agitated. The Lieutenant does copious amounts of drugs, cavorts with prostitutes, and uses his status to take advantage of teenage girls. While investigating a nun's rape, he begins to reflect on his lifestyle.

Bad Lieutenant

Bad Lieutenant (1992)

Maia Morgenstern

In "Ulysses' Gaze" ("To Vlemma Tou Odyssea," 1995), a Greek-American filmmaker, not named in the film, and only referred to as "A" in the script, is on a quest to find three lost reels of undeveloped film, the first ever produced in Greece, from around 1905. These films are in fact the first cinematographic record, the first "gaze" in the philosophical sense, into the soul of the region. As the title implies, the story will take the form of an odyssey that begins in Greece and continues through Albania (the former Yugoslav Republic of Macedonia, known to the Greeks as the Republic of Skopje), Bulgaria, Rumania, Serbia, and finally Bosnia.The film opens with an old black and white silent film that shows some village women weaving. In a voice-over, Harvey Keitel comments, "Weavers in Avdella, a Greek Village, 1905, the first film made by the brothers Miltiades and Yannakis Manakis, [who filmed] all the ambiguities, the contrasts, the conflicts in this area of the world." For those of you who would watch "Ulysses' Gaze" only to find out if these three films ever existed, you now know the answer, and you don't have to watch to the end. But if you follow the advice of the Greek poet C. P. Cavafi, in his poem "Ithaca" (1911): "When you start on your journey to Ithaca, / then pray that the road is long, / full of adventure, full of knowledge", then you will enjoy the next 180 minutes of the journey.Following this antique piece of film showing the weaving village women, and before the opening titles, we see a small masterpiece of a scene, as only Angelopoulos can produce. An old man, standing on a quay, is getting his old-type camera ready to film a sailing ship coming out of the harbor of Salonika. The old man is Yannakis Manakis, and the scene, which took place in 1954, is recounted to "A" out of the camera's field of view by an old man who had been Manakis's assistant at that time. The assistant is not shown as he would have been at the time, but as he is today. While we watch Manakis finish preparing his camera and his assistant standing behind him recounting the event, the films takes on color. As the blue ship appears on the right side of the screen, Manakis is struck by a heart attack and collapses in a chair. The assistant walks toward the right of the screen, all the while continuing with his story. The camera scans to the right, and we discover "A" standing. "A" walks leftward, passing the point where we had just seen Manakis and his camera, but they are no longer there. We continue following "A" walking to the left, until the blue ship reappears in the field of view. The camera now follows the ship, slowly zooming in, until the ship stands still and fills the screen. Eventually, the camera stops tracking the ship and it disappears to the left. We are contemplating a blue-grey sea that dissolves into a sky of the same color. In his long shot, Angelopoulos has covered sixty years, and set the tone for the whole journey.As the film begins, "A" (Harvey Keitel) has arrived in a rainy Florina, a town in northern Greece, where one of his films is to be shown. The film is somehow controversial, and religious fanatics plan to demonstrate against its screening. One of the screening organizers advises "A" to leave town for his own safety. As "A" is about to enter a taxi, a woman (Maia Morgenstern) in her thirties passes him by and "A," apparently stunned, follows her, muttering to himself: "I did not expect you here." She disappears between the groups of demonstrators and counter-demonstrators who face each other. Morgenstern, who plays the roles of four different women in the film, is "A's" old love whom he left years ago, and therefore, a Penelope figure. The two groups rush toward each other, but the resulting confrontation is left unseen.Cut to a dreary winter day, with snow on the ground. "A" arrives at an Albanian border crossing in a taxi. While the taxi driver (Thanassis Vengos) tends to the police formalities, "A" notices an older lady (Dora Volanaki) with a suitcase standing nearby. "A" walks toward her, and she asks if he could give her a lift to a town over the border. She plans to visit her sister, whom she has not seen for forty-five years. "A" agrees and helps her into the taxi. Just then, a group of people arrives in a bus: they are illegal Albanian immigrants who were rounded up by the Greek police and are being return to their home country. As "A's" taxi proceeds across the Albanian side of the border, we see all along the road, in a desolate and gloomy snowy landscape, hundreds of Albanians standing like statues, waiting for a chance to sneak into Greece. The taxi reaches the town of Korytsa, stops in the middle of an empty square, and "A" helps the lady out. The taxi leaves, and a tracking-back long shot reveals the isolation and desolation of the town.The taxi continues toward the Macedonian border, but it has to stop because of snow on the road. The friendly taxi driver sensibly decides against a perilous crossing, and settles down, waiting for the snow to be cleared. He engages "A" in a conversation while listening to Greek music and drinking. He says, "Greece is dying.We are dying as a people," reflecting on the present situation of Greece and its people."A" arrives, apparently on a bus in Monastiri, in the Republic of Skopje. He is looking for the original home of the Manakis brothers. He stands in front of the door, and the film dissolves into old black and white footage made around 1956 by the Manakis brothers. The house is now a museum, and "A" enters. Inside, he briefly meets with a young lady (Maia Morgenstern), who gives him the cold shoulder. Later that evening, on the train to Skopje, "A" meets her again. He explains in detail his journey's purpose, and we learn that the young woman's name is Kali, which stands for Calypso, the goddess who held Ulysses captive for seven years on her island, Ogygia.. Kali tells "A" that the Manakis' films are not in the Skopje film archives. In Skopje, "A" is continuing on by train to Bulgaria and Kali is on the platform. "A" recounts to her an event he witnessed two years earlier on the island of Delos. The train has started leaving the station and is picking up speed. Kali is running on the platform alongside the train, fascinated by "A's" story. Finally, "A" grabs her and pulls her aboard. He continues his story, and Kali is so moved by it that she does not resist "A's" passionate embrace. She will now share "A's" journey.The train pulls in the station at the border. "A" and Kali are asked to step down -- apparently, there is something wrong with "A's" passport. Past and present mix once more: the train station alters and "A" finds himself being interrogated by an official dressed in turn-of-the-century clothing. "A" is now being addressed as if he were Yannakis Manakis. He is accused of sedition against the state of Bulgaria.. Although "A" protests that he does not understand, he is blindfolded and taken before a firing squad. At the last moment, a messenger arrives: King Ferdinand of Bulgaria has commuted Yannakis Manakis' sentence to exile until the war (The Balkan war of 1912-13) is over."A" is reunited with Kali outside the contemporary police station. They board another train for Bucharest. As they step off the train, a young women (Mania Papadimitriou) in 1940's dress comes and addresses "A" as if he were a child. "A," in turn, calls her "Mother," and he apologizes for missing her funeral. Once more, we find ourselves in a time-warp, where "A" has returned to "his" childhood. They board a bus that takes them to their old home in Kostantza, on the Black Sea. They enter the house, where all of "A's" deceased "relatives" are dancing. He greets each one in turn, as a well-mannered child would. A man in rags appears in the room: it is his "father" returning from prison. The celebration of the father's return and of the New Year begins. We are in 1945, and there has been a temporary switch in the roles: "A," as Telemachus, is greeting the return of his "father," Ulysses. This is a familiar style that Angelopoulos has used in "The Travelling Players," where this single scene, lasting some fifteen minutes in one continuous shot, covers five years as the characters waltz through the 1948 arrest of an uncle, to the 1950 New Year's Eve celebration, when the family is finally allowed to return to Greece. Through this scene, we now understand that "A's" memory has now merged with that of the Manakis' brothers."A" awakens in a contemporary hotel in Kostantza, with Kali at his side. They go to the harbor, where a huge statue of Lenin is being loaded on a barge, in preparation for traveling up the Danube to Germany. A tearful "A" tells Kali, "I cannot love you," just as Homer's Ulysses tells Calypso upon leaving her. "A" climbs aboard the barge, leaving a bewildered Kali on the quay. As the barge proceeds up the Danube River, groups of people on the riverbank stand in awe, many crossing themselves. This long traveling shot, accompanied by ethereal music, reminds us of the taxi ride in Albania. Toward the end of this shot, Arvanitis' camera, as if looking into Lenin's soul, circles slowly around the broken head of the statue, as a meditation on a ruin of the past.Arriving in Belgrade, "A" is met by his old friend, Nikos (Giogos Michalakopoulos) who, paraphrasing Angelopoulos' favorite poet, George Seferis, greats him with, "When God created the World, the first thing he made were journeys." To which "A" answers, "and then came doubt and nostalgia." They go to an old people's home, where they meet with an old man who was once in charge of the Belgrade Film Archives. The old man says that the Menakis' films are now with one of his friends at the Sarajevo Film Archives. Nikos and "A" end up in a café, drinking to the memories of old friends, and continue their voyage into nostalgia while drinking in the street. Obviously, Belgrade has become Ulysses' descent into Hades in the Odyssey, where he went to meet old friends and get instructions to complete his journey. "A" decides that despite the danger, he must go to Sarajevo. Nikos tells him to follow one of the many rivers which lead to it.Night time. "A," asleep in an old shack, is being awakened by a young lady (Maia Morgenstern, yet again). They are in Philipoupolis, Bulgaria, and the year is 1915. Morgenstern now assumes the role of Homer's Circe, the sorceress. She leads "A" to the river, and they escape in a small boat. The next scene shows them on a bright morning, floating down the river. The couple eventually lands on the shore of a village in ruins, and they walk to a particular house, which used to be the woman's. The house, gutted by a conflagration, is in ruins. The woman, grief-stricken, desperately calls out, "Vania!" the name of her husband, who must have perished during the village's destruction. In the debris, "A" finds a picture frame with a turn-of-the-century wedding picture, which most likely is that of the woman and Vania. In a somewhat surrealist scene, a table with a white tablecloth has been set up in the midst of the rubble, and it is there in the evening where "A" and his companion have dinner. In the background, the rumble of guns and sharp explosions can be heard.When "A" wakes up, he is naked. He wraps himself in a blanket, walks outside, and sees the woman washing his clothes. She comes back to the house and gives him some of her husband's clothes. The woman goes to the river and demolishes the boat with an axe, obviously in order to hold "A" captive, as Circe also tried to do with Ulysses. She returns to the house, and seeing "A" dressed up in her husband's clothes, pulls him to the floor and makes passionate love to him.In the next scene, in the darkness, "A" has escaped Circe. He is drifting down the river in a small boat. At dawn, he arrives in Sarajevo. He eventually finds his way to the Film Archives, where he meets a young boy who takes him to an underground market to meet the Archives curator, a Jewish man by the name of Ivo Levy (Erland Josephson). They walk back to the gutted Film Archives building, each carrying containers of water. The siege of Sarajevo has been going on for some time, and the whole town is in ruins, its infrastructure destroyed. People risk their lives daily while fetching water at some of the still functioning water fountains, braving the bullets of Serbian snipers. Running back to the Film Archives, "A" explains to Levy the purpose of his coming to Sarajevo. Levy does have the three films and has tried repeatedly to find the correct chemical formula to develop them, but to no avail. . However, impressed by "A's" courage and determination, Levy says, "You must have great faith, or is it despair?" and agrees to try one more time.At the Film Archives, "A" goes to sleep and when he awakens, he meets a young woman, Levy's daughter, Noami ( Maia Morgenstern in her fourth role), a contemporary Nausicaa;. "A" is obviously struck by Noami's familiar face. By now, we understand that "A" has projected his past lovers in every woman he meets. Noami leaves, and "A," looking around, sees that Levy has already started to get the lab working again. Later that night, Levy wakes up "A" and brings him to his lab where the development of a roll of film is in progress. At last, Levy is successful. "A" and the archivist are overwhelmed with joy and they embrace: after almost 100 years of being captive, an image of Greece from the turn of the century has at last been set free.The whole place is now flooded with fog. Levy explains that this is a welcome time for the inhabitants of Sarajevo: because of the fog, the Serbian snipers cannot operate, and the population is free to come outside their shelter and enjoy the open air. As "A" and Levy walk past a cemetery, we see some people taking advantage of the lull to bury their dead, Moslem and Orthodox Christians alike. The two friends come across an orchestra playing in a small square. Levy explains that it is made up of young Muslim, Croat, and Serb musicians. There is also a small production of "Romeo and Juliet" going on.Further on, some couples are dancing to a rock tune. Out of the fog, Naomi appears and invites "A" to dance. The music changes to a 1950s tune, and Naomi has now become the Penelope whom "A" had left behind in Florina, long time ago.Levy's family joins the trio and they walk together in the fog toward the river, with Levy and "A" straggling behind. Suddenly, there is a noise of a car stopping, doors slamming, and men's voices. Levy tells "A" to stay put and runs in the fog to rejoin the rest of the family. We hear Naomi's cry of, "not the children!" as gun shots are followed by splashes as bodies are dumped into the water. The car leaves and there is total, eerie silence. Throughout, we stare at the fog, only able to guess at the events that have just occurred. As always, Angelopoulos lets us contemplate the meaning of violence, rather than actually showing it. "A" runs to the spot of the massacre where he first finds Levy dead in the snow, and then Naomi. He embraces her, embracing at the same time all the women he has loved and lost. In helpless rage and anger, he releases several heart-wrenching screams. He returns slowly to the Film Archives, passing once more by the still-playing orchestra.The final scene shows a blank projection screen where a film has just been shown, most likely one of the Manakis' films. Then, a close-up shot of "A," followed by a zoom backward, as he speaks Ulysses' lines to Penelope,"When I return, it will be with another man's clothes""A" has reached his Ithaca, but his odyssey may not be over yet, as he is now looking toward another Ithaca.

Ulysses' Gaze

Ulysses' Gaze (1995)

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