French - Italian : The Grande Bouffe/La grande abbuffata/La Grande Bouffe

The film tells the story of four friends who gather in a villa for the weekend with the express purpose of eating themselves to death. Bouffer is French slang for "excessive eating". (the Italian abbuffata means "great eating").The first protagonist, Ugo, owner and chef of a restaurant "The Biscuit Soup" decides to commit suicide, probably because of misunderstandings with his wife. The second is Philippe, a somewhat important magistrate who still lives with his childhood nanny, Nicole, who is overprotective of him to the point of trying to prevent him from having relationships with other women, and who fulfills her own sexual needs with the judge. The third character is Marcello, an Alitalia pilot and womaniser, who is devastated by the fact that he has become impotent. In the first scenes in which he appears, he is intent on making one of his air-hostesses carry off the plane an entire Parmigiano for the villa where he will meet up with the other three protagonists. The fourth and final main character is Michel, who is an effeminate television producer, divorced and tired of his monotonous life. The four come together by car to the beautifully furnished but unused villa owned by Philippe. There they find the old caretaker, Hector, who has innocently prepared everything for the great feast, and a Chinese visitor who is there to offer a job to the magistrate in faraway China, which Philippe politely rejects with the phrase "Timeo Danaos et dona ferentes", quoting Virgil. Once alone, the four began their binge. In one scene Marcello and Hugo race each other to see who can eat oysters the faster. They discuss organizing a little "feminine presence" and decide to invite three prostitutes (not four because Philippe does not want to participate) to come to the house the following evening. Their breakfast next day is interrupted by the arrival of a school class who would like to visit the garden of the villa to see the famous "lime-tree of Boileau", a tree under which the French poet used to sit while looking for inspiration.

The four willingly invite the class not only into the garden but also to view the old Bugatti in the garage and to a magnificent lunch in the kitchen. Above all, they get to know Andrea, the young and buxom teacher, whom they spontaneously invite to dinner that evening. Philippe is dismayed at the notion of the school teacher being in the same company as three prostitutes; he warns her but she appears not to be perturbed. The prostitutes arrive in due course and the atmosphere becomes frivolous and sexually charged. Andrea arrives and embraces the spirit of the party. She is attracted to Philippe, who proposes to marry her. The eating continues unabated. Ugo is responsible for the preparation of the food. Michel, who seems to have been brought up strictly not to fart, suffers from indigestion. His friends encourage him to let go and fart. He goes to the toilet and causes the sanitary pipes to explode. The house is flooded with excrement. Frightened by the turn of events, the prostitutes flee at dawn and leave only Andrea. She seems to sense the purpose of the protagonists and decides to help them in their efforts, establishing a tacit agreement and remaining with them until the death of all four. The first to die is Marcello, after being enraged with his own impotence and following the explosion of the toilet. He becomes exasperated and realizing the futility of the farce, decides to leave the house at night during a snow storm in the old Bugatti that he had repaired earlier in the day with great delight.

His friends find him the next morning, frozen in the driving seat. The first suggestion is to bury Marcello in the garden, but on the advice of Philippe (who, being a judge, warns that there is a severe penalty for the illegal burying of a corpse) they place the body in the villa's cold room, where it remains seated and clearly visible from the kitchen. After Marcello comes Michel, who already suffering from indigestion and crammed to capacity with food (he cannot even lift his legs practising dance, his favourite pastime) literally dies of laughter at the exploding toilet incident. Amid flatulence and worse he collapses on the terrace. His friends place him in the cold room next to Marcello. Shortly afterwards, Ugo prepares an enormous dish made from three different types of liver pâté in the shape of the Dome of St. Peter, which he serves to the remaining diners, Philippe and Andrea, in the kitchen in view of the two dead friends. Philippe and Andrea cannot bring themselves to eat it however. Philippe goes off to bed leaving Andrea to keep Ugo company during his determined effort to eat the entire pâté. Some time later she later calls Philippe back downstairs to help her stop his friend from stuffing himself to death. They cannot dissuade Ugo however, and end up attending to him on the kitchen table, the one feeding him, the other masturbating him until he dies. On the advice of Andrea, his body is left on the kitchen table, in his "domain." Last to die is the diabetic Philippe on the bench under the lime-tree of Boileau and into the arms of Andrea after eating a cake she has made shaped like a pair of breasts. He dies just as another delivery of meat arrives. The delivery men react with incomprehension when Andrea instructs them to leave the meat - whole animals and sides of pork and beef - in the garden (the cold room being full). The film ends bizarrely with a scene of the garden filled with neighbourhood dogs, geese and poultry, and meat carcasses.

El espíritu de la colmena aka The Spirit of the Beehive 1973 (nice to remember)

Six-year-old Ana is a shy girl who lives in the manor house in an isolated Spanish village on the Castilian plateau with her parents Fernando and Teresa and her older sister, Isabel. The year is 1940, and the civil war has just ended with the Francoist victory over the Republican forces. Her aging father spends most of his time absorbed in tending to and writing about his beehives; her much younger mother is caught up in daydreams about a distant lover, to whom she writes letters. The entire family is never seen together in a single shot. Ana's closest companion is Isabel, who loves her but cannot resist playing on her little sister's gullibility. Teresa writes to her past lover while she seems to stare out the window at the old house where Ana will find the republican soldier: "Little but the walls remain of the house you once knew, I often wonder what became of everything we had there." This supposes the house has a history for her, and implies the escaped republican soldier who will run straight to this now empty and crumbling house and hide in it may have been her lover.
At the beginning of the film, a mobile cinema brings Frankenstein to the village and the two sisters go to see it. Ana finds the film more interesting than frightening, particularly the scene where the monster plays benignly with a little girl, then accidentally kills her. She asks her sister, "Why did he kill the girl, and why did they kill him after that?" Isabel tells her that the monster didn't kill the girl and isn't really dead; she says that everything in films is fake. Isabel says the monster is like a spirit, and Ana can talk to him if she closes her eyes and calls him: "It's me, Ana."

Ana's fascination with the story increases when Isabel takes her to a desolate abandoned sheepfold, which she claims is the monster's house. Ana returns alone many times to look for him but finds only a large footprint. One day, Isabel screams from a distant part of the house, and when Ana comes to investigate, she lies perfectly still on the floor, pretending to be dead. That night, Ana sneaks out and while looking at the night sky, closes her eyes. In the next scene, a fugitive republican soldier leaps from a passing train and limps to the sheepfold to hide.Ana finds the soldier hiding in the sheepfold. Instead of running away in terror, she feeds him and even brings him her father's coat and watch. This odd, wordless friendship ends abruptly when the Francoist police come in the night, find the republican soldier and shoot him. The police soon connect Ana's father with the fugitive and assume he stole the items from him. The father discovers which of the daughters had helped the fugitive by noticing Ana's reaction when he produces the pocket watch she had given to him. When Ana next goes to visit him, she finds him gone and fresh blood on the ground. Her father confronts her as she gazes at the blood, and she runs away.While she is wandering in the woods alone that night, she finds a poisonous mushroom her father previously said will kill anyone who eats it. It is not clear if she does so but she later has a vision of the monster; he gazes sadly at her, as in the 1931 film, and kneels beside her as she looks down into water. We see Teresa read a letter she wrote to the man who lives in Nice, France, and burning it unsent, implying the love affair is over or that she will stop communicating with him.A search party finds Ana physically unharmed the next morning, but she withdraws from her family, refusing to speak or eat. The doctor assures her mother that she will gradually forget the shock she's just experienced. Teresa is shown caring for Fernando after he falls asleep at his desk. At the end of the film, Ana recalls what Isabel said about calling the monster, and she stands alone by her bedroom window and closes her eyes.

Le charme discret de la bourgeoisie i like it - 1972

The film consists of several thematically linked scenes: five gatherings of a group of bourgeois friends, and the four dreams of different characters. The beginning of the film focuses on the gatherings, while the latter part focuses on the dreams, but both types of scenes are intertwined. There are also scenes involving other characters, such as two involving a Latin American female terrorist from the fictitious Republic of Miranda. The film's world is not logical: the bizarre events are accepted by the characters, even if they are impossible or contradictory.The film begins with a bourgeois couple, the Thévenots (Frankeur and Seyrig), accompanying M. Thévenot's colleague Rafael Acosta (Rey) and Mme. Thévenot's sister Florence (Ogier), to the house of the Sénéchals, the hosts of a dinner party. Once they arrive, Alice Sénéchal (Audran) is surprised to see them and explains that she expected them the following evening and has no dinner prepared. The would-be guests invite Mme Sénéchal to join them for dinner at a nearby inn. Finally arriving at the inn, the party find it locked. They knock and are invited in, despite the waitress' seeming reluctance and an ominous mention of "new management". Inside, there are no diners (despite disconcertingly cheap prices) and the sound of wailing voices from an adjoining room. It is learned that the manager died a few hours earlier and his former employees are holding vigil over his corpse, awaiting the coroner. The party hurriedly leave.Two days later, the bourgeois friends attempt to have lunch at the Sénéchals, but he (Cassel) and his wife escape to the garden to have sex instead of joining them. One of the bourgeois friends takes this as a sign that perhaps the Sénéchals are aware the police are coming (fearing the discovery of the men's involvement in cocaine trafficking) and were leaving to avoid arrest. The party leaves again in panic.

Then the women visit a tea house, which turns out to have run out of all beverages - tea, coffee, milk, and herbal tea, although it finally turns out that they do have water. While they are waiting, a soldier tells them about his childhood and how, after the death of his mother, his education was taken over by his cold-hearted father. The soldier's mother (as a ghost) informs him that the man is not his real father, but in fact killed the soldier's father during a duel over his mother. Following his ghost mother's request, the soldier poisons and kills the culprit. When the Senechals return from their garden after sneaking off to make love, their friends are gone but they meet a bishop who had arrived shortly after. He greets them in their gardener's clothing, and they angrily throw him out. When he returns in his bishop's robes, they embrace him with deference, exposing their prejudice, snobbery, and hypocrisy. The bishop asks to work for them as their gardener. He explains to them about his childhood - about how his parents were murdered by arsenic poisoning, and the culprit was never apprehended. Later on in the film, he goes to bless a dying man, but when it turns out that the man had killed the bishop's parents, he first blesses him, then fires a shotgun, killing the man - thus closing the circle of hypocrisy.Various other aborted dinners ensue, with interruptions including the arrival of a group of French army officers who join the dinner, or the revelation that a French colonel's dining room is in fact a stage set in a theatrical performance, during a dream sequence.

Ghosts make frequent appearances in what seemed to be disconcerting dream sequences.Buñuel plays tricks on his characters, luring them toward fine dinners that they expect, and then repeatedly frustrating them in inventive ways. They bristle, and politely express their outrage, but they never stop trying; they relentlessly expect and pursue all that they desire, as though it were their natural right to have others serve and pamper them. He exposes their sense of entitlement, their hypocrisy, and their corruption. In the dream sequences, he explores their intense fears - not just of public humiliation, but of being caught by police, and mowed down by guns. At least one character's dream sequence is later revealed to be nested, or embedded, in another character's dream sequence. As the dreams-within-dreams unfold, it appears that Buñuel is also playing tricks on his audience, as we try to make sense of the story.A recurring scene throughout the film, wherein the six people are walking silently and purposefully on a long, isolated country road toward a mysterious destination, is also in the final sequence.

Spanish Drama of 2002: Hable con ella aka Talk to her

The Plot:The story unfolds in flashbacks, giving details of two separate relationships that become intertwined with each other.During a dance recital Benigno Martín ("benign" or "harmless" in Spanish) and Marco Zuluaga cross paths but the two men are no more than strangers, but Benigno notices that Marco cries. Marco is a journalist and travel writer who happens to see a TV interview of Lydia González, a famous matador. He thinks up that an article over the female matador would be interesting and on the instructions of his editor, he contacts her in a bar where she asks him to take her to her house. As they talk she elaborates on the fact that she broke up with her boyfriend “El Niño de Rivera”, another matador, something that has been all over the tabloids; as Marco confesses that he knows nothing of bullfighting and that he is a journalist, she becomes angry and leaves his car without saying a word. As he drives off, he hears a scream inside her house and stops, Lydia rushes off and climbs back into his car, she asks him to kill a snake that she found in her house, he does so and comes out of the house crying. With that new confidence established between them they become friends and later on lovers. Marco attends a wedding in Toledo and is surprised to find Lydia there too, since she had said that she did not want to go. The wedding turns out to be of Marco’s former fiancé who had the same phobia to snakes as Lydia, Marco was very much in love with her and had a very hard time getting over her (which was the reason of his constant crying over things he could not share with her), Lydia says that she has something important to say but she prefers to wait until after the bull-fight that afternoon but she is gored and becomes comatose. Marco does not leave her side at the hospital and finally befriends Benigno, who recognized him from the dance recital. Marco is told by the doctors that people in coma never wake up but that there are miracle-stories of people who have come back but that he should not keep his hopes high.

Benigno is a personal nurse and caregiver for Alicia Roncero, a beautiful dance student who lies in a coma, but Benigno sees her as alive and he talks his heart out to her patient and brings her all kinds of dancing and mute black and white films mementos. As it turns out, Benigno had been obsessed with Alicia for a while before she was in a coma, since his apartment is in front of the dance studio where she practiced every day. At first his obsession is only from a distance, since Benigno takes care of his possessive mother who seems to be immobilized, for this reason is that he became a nurse and also beautician. After his mother died he was free to move about and finally picked up the courage to talk to Alicia after she dropped her wallet on the street. As they walk together to her house, they talk about her discovery of mute black and white films and dancing. When she walks into her building, Benigno notices that she lives in Dr. Roncero’s house, who is a psychiatrist. He makes an appointment to see the doctor and talks about his unresolved bereavement over his mother, but it all is a ruse to gain access to the apartment where he steals a comb from Alicia’s room. That night Alicia was run over a car and became comatose, by mere chance Benigno was assigned to Alicia much to the surprise of her father but since Benigno’s services are the best, he hires him and a colleague permanently to tend for Alicia.Benigno keeps telling Marco that he should talk to Lydia, because despite the fact that they are in a coma, women understand and react to men’s problems. Marco learns from Niño de Rivera that he and Lydia had decided to be together again but she had not told him, so Marco finds himself alone again, as he is about to leave he comes into Alicia’s room looking for Benigno, but he instead finds himself opening his heart out to her despite his scepticism over Benigno’s theories. Benigno and Marco leave the hospital and in the parking lot Benigno tells Marco of his plans to marry Alicia, but Marco is taken aback, telling his friend that Alicia is basically dead and cannot express her will in any manner but Benigno does not hear any reason. During a routine review at the hospital the supervisors notice that Alicia has missed several periods but since this is a common occurrence with people in coma they do not think twice over it, however Alicia is pregnant and an investigation ensues where Benigno is the main suspect.Marco has left Spain to write a book about travelling through Jordan and in a newspaper he learns that Lydia has finally died, having never awaken from the coma. He phones the hospital looking for Benigno but all he is told is that he does not work there anymore, he manages to find another nurse that he had befriended who tells him that Benigno is in prison for the rape of Alicia. Marco comes back and visits Benigno who asks him to hire a new lawyer and find out what happened to Alicia. Marco stays in Benigno’s apartment and sees that Alicia has awakened during or sometime after giving birth, but the baby was stillborn. Following Benigno's lawyer's urging, he does not tell Benigno about her unexpected recovery. Desperate, Benigno ingests a large quantity of pills to try to "escape" and reunite with Alicia. He dies of an overdose.Meanwhile, Alicia has begun rehabilitation to recover her ability to walk and dance. The film ends in the same theatre where it began, where Marco and Alicia meet by chance.

À Nos Amours 1983 : selected from my collection

À nos amours (To Our Loves) is a 1983 French film directed by Maurice Pialat, written by Arlette Langmann and Pialat.The film is a character study focusing on Suzanne, a promiscuous fifteen-year-old Parisian, played by Sandrine Bonnaire. Despite her age, Suzanne engages in a number of affairs in reaction to her miserable situation at home.but let me discuss now my personal opinion:Maurice Pialat's films aren't made to be liked, petted, praised, or held up as shining examples of anything. It's said that the director, a chronic malcontent by most accounts, considered himself or aspired to be a “popular filmmaker.” I don't buy it, and I can't convince myself that he did either—there's so little in his movies that openly petitions for sympathy or shows the discreet condescension that audiences have been taught to expect. Most movies, when they require the audience to read through a letter or some odd piece of exposition, keep it on-screen long enough for anyone with a first-grade reading level to slog through; Pialat’s films—cracked-up, groove-skipping things—will drop the letter entirely. Keep pace or shut up, they imply.I can't imagine this director respecting an adoring public on the occasion that he found one, as with À nos amours, a box-office success that shared the 1984 Best Picture Cèsar with Ettore Scola's Le bal. Most of his plots seem to rely on the difficulty (the impossibility?) of reciprocal love, on pain as the intrinsic by-product of every human exchange, almost as a natural law. “Hell is other people”—it's one of Pialat's greatest preoccupations, and it’s one of the great themes—Fassbinder was likewise drawn to it, and must've recognized some kindred purpose in Pialat; it's his 1973 We Will Not Grow Old Together that's prominently channel-surfed through in Fassbinder's emotional charnel house In a Year of 13 Moons. Is there any more pressing topic, which has quietly, privately crushed more lives than all the wars and holocausts of history?

The film gives the feeling of something less strategized than cobbled together from odd objets trouvés shots, a patchwork of meandering pans that come a moment after you'd expect them, two-shots, some raucous dollies… On-set improvisation and invention are key to the liveliness in Pialat's work, but even on-the-move, his actors never forget qualities like hesitation, reserve, and embarrassment, distinguishing him from the “dueling blowhard” school of loquacious American film improve—from Faces clean through 25th Hour—in which actors try to out-gab each other as though they're getting paid by the line (maybe it’s a New York thing…). Still, watching the domestic melee of À nos amours leaves the impression of a lacerating shoot. Almost every family squabble elevates into a tactically real smackdown; at one point, when Ker cracks her head on a wall's moulding, a trickle of very real blood emerges under her hairline. Pialat's movies are testy, thrashing—one gets the sense, through his surrogate egos, that the man rebelled at quietude; the films reflect a compulsion to hurtle bodily toward the threat of tranquility.

from my best The Mother and the Whore aka La maman et la putain

The film focuses on three twenty-somethings in an unconventional love triangle in Paris during the summer of 1972. Alexandre (Jean-Pierre Léaud) is an unemployed young man involved with both a live-in girlfriend Marie (Bernadette Lafont) and the Polish nurse Veronika (Françoise Lebrun). He had picked up Veronika at a café after an unsuccessful reconciliation with a former love, Gilberte (Isabelle Weingarten). With Veronika, he begins a desultory affair. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. The film focuses less on plot or narrative than on the confused and ambivalent life style of these three young people in post-May '68 Paris.The Mother and the Whore is considered Eustache's masterpiece, and was called the best film of the 1970s by Cahiers du cinéma. It won the Grand Prix of the Jury and the FIPRESCI prize at the 1973 Cannes Film Festival. The film created a scandal at the Cannes Film Festival, as many critics saw the film as immoral and obscene or, in the words of the broadsheet Le Figaro, "an insult to the nation", while Télé-7-Jours called it a "monument of boredom and a Himalaya of pretension."After gaining little public recognition despite receiving praise throughout the years from critics and directors, such as Francois Truffaut and other members of the French New Wave, Eustache became an overnight success and internationally famous after the film's Cannes premiere. He soon financed his next film. The critic Dan Yakir said that the film was "a rare instance in French cinema where the battle of the sexes is portrayed not from the male point of view alone." James Monaco called it, "one of the most significant French films of the 1970s." Jean-Louise Berthomé said, "I am not sure that La mama et la putain, with its romances of a poor young man of 1972, doesn't say something new." Pauline Kael praised the film, saying it reminded her of John Cassavetes in its ability "to put raw truth on the screen - including the boring and the trivial."The film's reputation increased over time. In 1982 the literary magazine, Les Nouvelles Littéraires, celebrated the tenth anniversary of the film by publishing a series of articles on it.

From my best collection: Sex and Lucia 2001

The film begins with Lucía (Paz Vega) at work as a waitress, talking on the phone with her depressed boyfriend Lorenzo (Tristán Ulloa). Worried, she goes home to console him. Finding an empty apartment, Lucía frantically looks for him. She finally receives a phone call from the police and finds a suicide note, but she is so afraid of the bad news that she hangs up, assuming the worst has happened to Lorenzo. Looking for a new beginning, Lucía decides to travel to the mysterious Balearic Islands that Lorenzo had always talked about.The plot breaks to six years earlier: Lorenzo is having casual sex in the ocean with a woman named Elena. They part ways, expecting to never see each other again. She becomes pregnant with his baby, so she ventures off to find him. Lorenzo talks with his literary agent at a restaurant, discussing his writer's block. Lucía catches his attention as he gets up from his table. She tells him that ever since she read his latest book, she has been following him and has fallen passionately in love with him. A smitten Lorenzo immediately engages the sexy, passionate Lucía and they move in together at Lorenzo's apartment.The film then continues interweaving past and present, people in real life and the characters in Lorenzo's novel.

As the past plays out, we see Lorenzo repeatedly stalling for time on his new book with his editor while his relationship with Lucía deepens. Lorenzo learns that he has a daughter as a result of his encounter with Elena and begins to visit the child at her school while meeting her babysitter Belén. Lorenzo uses his new encounters as content for his book. Belén flirts with Lorenzo and invites him over to Elena's house while she babysits the daughter, Luna. Lorenzo tells Luna a bedtime story, and after she falls asleep, he and Belén begin to make love. They are interrupted as Luna knocks at the bedroom door, and they watch in horror as the family dog kills her. Lorenzo runs away and falls into a deep depression. All the while, he writes about his new experiences with Belén. Lucía reads it, thinking it is fiction.In the present, Lucía meets a scuba diver on the island, Carlos, and through him, Elena, who runs an inn on the island to cope with her grief. Lucía rents a room at the inn. As the past is revealed, the characters cope with its significance in the present and understand the entanglements of their interwoven relationships.

Angel Heart: movie that i like with weird ending.

The movie opens in New York City, in January 1955. Harry Angel (Rourke), a downtrodden private investigator, is contacted by an attorney named Herman Winesap (Dann Florek) and instructed to meet a client named Louis Cyphre (Robert De Niro) in a Harlem church. While a competent detective, Angel is notably unshaven, unkempt and slovenly; he avoids looking at himself in mirrors. Cyphre could not be more different, he is an elegant, mysterious man who affects a beard, long hair and nails, and carries a cane. He tells Angel about a popular pre-war crooner named John Liebling, known as Johnny Favorite, who suffered severe neurological trauma resulting from injuries he received in World War II. Favorite's incapacitation disrupted a contract with Cyphre regarding unknown collateral, and Cyphre believes that a private upstate hospital where Favorite was receiving radical psychiatric treatment for shell shock has falsified records, deliberately preventing the contract from being fulfilled. He hires Angel to discover the truth and locate Favorite's true whereabouts.
Angel travels to the hospital and discovers that the records showing Favorite's transfer on December 31, 1943, were indeed falsified by a physician named Fowler (Michael Higgins). Discovering that he is a morphine addict, Angel withholds his fix until Fowler admits he was paid $25,000 by a wealthy friend of Favorite's and an unknown woman and that one night, years ago, they put Favorite, whose damaged face was heavily bandaged, in a car to be taken south. Angel feels Fowler is still withholding information and leaves with his morphine, hoping to sweat him some more, but when he returns he finds the doctor murdered. Fearing he will be a suspect and anxious to quit the job, he meets Cyphre to apprise him of this literal dead-end. However, Cyphre pays him $5,000 to continue the search, so Angel uses a former journalist lover to research Favorite's background. Although Johnny had a wealthy southern society fiancée named Margaret Krusemark (Charlotte Rampling), he also had a secret love named Evangeline Proudfoot in addition to being involved with a Coney Island gypsy fortune teller, Madame Zora. Learning that voodoo practitioner Madame Zora was actually the debutante Krusemark, Angel travels to New Orleans to find her.

Displaying an aversion to chickens that parallels his avoidance of mirrors, Angel is at a disadvantage in New Orleans. Margaret divulges little information to him, telling him that Johnny is dead, and if he is not, he is dead to her. He then tracks down Johnny's former secret love and discovers she is dead, but her daughter, Epiphany Proudfoot (Bonet), was conceived during her mother's relationship with Favorite. Epiphany is equally reluctant to speak, so Angel locates Toots Sweet (Brownie McGhee), a blues guitarist and former Favorite bandmate. After witnessing Toots and Epiphany at a voodoo ceremony that night, Angel uses force to try to extract details of Favorite's last known whereabouts from Toots, who refers him to Margaret and informs him that Epiphany, like her mother, is a voodoo priestess. The following morning, Angel awakes to find the New Orleans police in his hotel room; they inform him that Toots was murdered the night before. Returning to Margaret's home, Angel later finds her murdered, her heart removed with a ceremonial knife. Angel is then attacked by agents of Ethan Krusemark, a powerful Louisiana patriarch and Margaret's father, and told to leave town. Epiphany then visits Angel's hotel where they have sex; during this time she reveals that Johnny Favorite was considered an extremely evil man who turned on everyone he knew. Angel suspects that Favorite is in hiding and is killing off his former friends to prevent his whereabouts being discovered.
Angel forces one of the men who attacked him to take him to Krusemark, who confronts Angel in a shed at his racetrack and reveals the horrible news: Favorite was actually a powerful magician who sold his soul to Satan in exchange for stardom, but then sought to renege on the bargain. With the help of Toots and the Krusemarks, Favorite kidnapped a soldier on New Year's Eve and, using an obscure rite, murdered him and ate his still-beating heart in order to steal his soul and assume his identity. Favorite planned to drop out and resurface as the soldier, but the boy was drafted due to the sudden outbreak of the war and his subsequent amnesia from his injuries ruined Favorite's plan. Hoping to jog Johnny's memory, the Krusemarks later snuck an unresposive Favorite out of the hospital on the last day of 1943 and released him in Times Square during the celebrations that night. Demanding to know who the hapless victim was, Angel has a panic attack and runs into the bathroom; he emerges to find Krusemark drowned in a cauldron of boiling gumbo. Fleeing to Margaret's home to find the sealed vase containing the clue to the soldier's identity Favorite gave her years ago, Angel breaks it open, revealing a set of dog tags with the name "ANGEL, HAROLD" stamped on them. Angel was, and has been, Johnny Favorite all along.Louis Cyphre, a homophone for Lucifer, appears in Margaret's living room and tells him despite his, Favorite's, attempt to break the contract, he has known his true identity since the beginning. Angel refuses to believe him, insisting that he knows his own identity and will tell Winesap that Cyphre is trying to frame him for murders he himself has committed. Cyphre then reveals that Winesap is also dead, and proceeds to unleash Angel's repressed memories: in a fugue state that Cyphre induced, Angel did indeed murder Fowler, Toots, and the Krusemarks. Finding himself alone, Angel then flees to his hotel where he finds the police in his bedroom. The body of Epiphany, wearing his dog tags, is in his bed, killed with his pistol. Harry/Johnny finally accepts the truth of who he really is, stating that he knows he will burn in hell. He will be executed for his own daughter's murder, and Cyphre can at long last claim what is his: Favorite's immortal soul.Over the end credits, there is a lengthy sequence of Angel inside an ancient iron Otis elevator cage, which is interminably descending, presumably to hell. (Short clips of this sequence have been seen in Angel's dream sequences throughout the film.) As the screen fades to black, Cyphre can be heard whispering, "Harry" and "Johnny," announcing his dominion over both their  souls.

La ragazza con la pistola aka The Girl with the Pistol /Old nice movie

The Girl with the Pistol (Italian: La ragazza con la pistola) is a 1968 Italian comedy film directed by Mario Monicelli. It was nominated for the Academy Award for Best Foreign Language Film. Monica Vitti won the David di Donatello as Best Actress.
The Plot:
Vincenzo Macaluso did not want to that sicca sicca, he wanted the jug barge, but chilli fitusi of picciotti mistook the rat, 'gosh is of the Assumption Patané, ullava comm' to 'na crazy, if you know the' pigghiata cumm'era nun was! "Mo 'this is and this affects you dishonor Vince'! Kiss the hands ..." and if it went away. "Of mammo are, as cold as the mammo!" screaming still Assuntina, before spulzellata .Vincent, however, the morning is gone. Too much ardor and technical skill of the Assumption of the loving han yield suspect in his eyes and not be forced to marry her has escaped into Scotland he's gghiutu! Santarrosaliabedda, are dishonored, me and my sisters!

You have to start: handbag with saint, rosary, money and a gun or Vicienzo m'impalma, or I'll shoot! Start manhunt stranger on earth.Hilarious comedy (first interpretation of such a talented Monica Vitti), with the now-classic ingredients of Italian emigrants in the countries of the south at the time of northern Europe, without knowing the language, traditions and culture of origin and very distant , much more old-fashioned. Assumption, which was to just stop in the land of Albion the time necessary to accomplish the mission, it will prolong the stay because of the very long search, many people know little by little, s'introdurrà quickly to the language and culture, even cut the long braid Hair blacks for a more modern cut and colored. The last thing you will put away the gun.A success story after all, who is in favor of the person's ability to evolve, enabling environment. But there are no specific social messages, it is just pure fun, with gags from misunderstandings and unexpected, now call "classic" but they are still very effective!Despite the pretext not very original, the film does not exaggerate on the common places much less mocks nor the Sicilians or the "albionani."

very funny with my best wondeful ladies: 40 degrees in the shade of the sheet

It was nice i watch the "40 degrees in the shade of the sheet" again and i want to share with you the plot of this movie that contains 5 episodes of different story as follow:

The big horse
"The big horse 'is the nickname given to a young woman, prosperous, charming and married to distinguished man, who lives in a country of Emilia-Romagna, where all men would like to have an intimate encounter with her. The only one to ignore it publicly in his exuberance, is an educated man but ugly, scruffy and short-sighted (an unrecognizable Tomas Milian ). He joins her several times by phone accusing us to disturb his dreams - where indeed reciprocated seduces her - until she - that totally ignores him the appearance and identity - offers him a meeting to clarify. The man timid declines to discover bitterly that he had lost a great opportunity because in its place comes a farmer and monstrous lout (Salvatore Baccaro) which will take delight in telling the story to his fellow villagers.

Dead Poets Society
A married couple is unable to have a full sexual relationship because he can not reach the maximum excitement, although she is very attractive. At the beginning of the episode, the couple engage in the hypothetical situation of a driver in the service of a wealthy noblewoman in a picnic on the lawn. Not being able to conclude anything, return the car to the owner of car with which they have a fight. The wife exasperated by the continuous sexual failures of her husband slaps and insults him by telling him that it is a "culatone", at which point his manhood feeling offended, it begins to operate even if unfortunately the "Dead Poets Society" occurs in car through traffic.

The bodyguard
A bodyguard is mandated to protect against sexual abuse of a group of shady characters the daughter of his employer. The bodyguard to do his duty does not hesitate to follow her even when she is naked or you're washing in the bathroom; creating them some embarrassment also because of the particular human eyeballs, that seem to come out of their sockets, giving the impression you want to take advantage of these situations. This zeal eventually proves beneficial, because it manages to foil the plans of his enemies, although they have tried to murarlo live in a pillar.

Money in the mouth

A mysterious fixer comes to your home to a rich and handsome married woman and offers her a large sum of money in exchange for sex. This feeling offended before the hunt, then convinced by his words reconsiders and agrees. This pattern is repeated a few more times, the last in the women's bathroom of an airport, before she goes to get her husband who is a burly industry. After intercourse took place in the bathroom, she discovers with surprise her husband with the recruiter (taken by esportargli some large sums of money). At this point the woman realizes she has been tricked, since the money would have been for which she has received the law, without any sexual performance.

A quiet place
A cultured man and distinguished visiting an apartment vacancy of an apartment to reside, while it inspects see from the window a young and charming girl who is teetering on the ledge of the building in an attempt to commit suicide. The man rushes, but it is strongly terrified of the big dog of the girl who proves possessive. In an attempt to distorla from his intentions, tries to comfort her and noticing his physical attractiveness, ill try to approach him sexually. The dog, however, gives no respite to the man, prompting him to move from the window ledge to escape, they are called the fire department and inadvertently loses his balance. Fell on the tarp supported by firefighters saved, but still chased by the dog.