Legături bolnăvicioase from Romania to the world 2006

Love Sick (Romanian: Legături bolnăvicioase, "Sickly relationships") is a 2006 Romanian drama film directed by Tudor Giurgiu. It is a lesbian-themed love story that has been compared to My Summer of Love.It premiered at the 2006 Berlin International Film Festival as part of the Teddy Awards. It went on to appear at a number of international film festivals including the Seattle International Film Festival and the London Lesbian and Gay Film Festival.

Alex and Cristina (Kiki) are university students who end up living in the same building. Their friendship develops quickly, overcoming several phases, from fellowship to care and tenderness. While the two are very different, the two girls get along fine, except for the moments when a third character shows up — Sandu. Kiki’s brother is permanently tormented by an unnatural jealousy which implies an incestuous liaison between the two siblings.Unlike other recent Romanian films, it is not a reflection on Romania's communist or post-communist history; the country is merely a background for the different relationships.

The Blind Beast..Old and nice from 1969

One of the most fascinatingly freakish of all the big screen adaptations of the works of Japanese mystery writer Edogawa Rampo is The Blind Beast. This outrageous film from 1969 was directed by the criminally underrated Yasuzo Masumura, director of such powerful melodramas as Kisses (Kuchizuke, 1957), Giants and Toys (Kyojin to Gangu, 1958), the lesbian love-triangle Manji (1964), and Red Angel (Akai Tenshi, 1966). Masumura's early work and essays on film in the late 1950s spurred a young Nagisa Oshima and his peers at Shochiku studios to radically reconfigure the nation's traditional cinema, giving birth to the Japanese New Wave of the 60s in the process.
Though the plot bears some similarity to John Fowles' powerful novel The Collector, published in 1963 and rather listlessly adapted for the big screen by William Wyler in 1965 with Terence Stamp and Samantha Eggar as captor and captured, Moju is based on a rather grotesque tale by Rampo first serialised in the Asahi national newspaper between 1931 and 1932.
The original story featured Michio, a psychopathic blind sculptor who under the guise of an itinerant masseur roams the land in search of suitable female body parts to construct into the perfect sensual sculpture. In Masumura's hands the plot is stripped down to its basic atoms. There is only one victim here to form the basis of the sculptor's latest work, a shapely young model called Aki, abducted in the initial scenes. The rest of the action takes place in one location, the artist's cavernous studio in the basement of a secluded house, each wall covered in biomorphic swells representing parts of the female anatomy: breasts, eyes, lips. The studio is dominated by two recumbent sculptures of male and female nudes.

Masumura depicts this claustrophobic milieu with an edgy, hallucinogenic intensity that borders on hyper-realism to explore the cloying, all-encompassing relationship between the artist and his art and the obsessive closed world that the artist inhabits. As Michio maps out the curves of his subject in his attempt to reproduce her in clay, the two engage in a continuous stream of dialogue, and as Aki's fear for her capture turns to respect, she eventually reciprocates to his intense tactile fixation on her body. The two enter into a strange sado-masochistic relationship that, in a squirm-inducing finale reminiscent of Nagisa Oshima's In the Realm of the Senses (Ai No Koriida, 1976) and Jennifer Lynch's Boxing Helena (1993), culminates in each of the model's limbs being severed from her torso.
Given the rather static nature of the mise-en-scène, Masumura must be admired for stretching out such an elementary idea to feature length, yet the most overwhelming impression of this film is its deliciously overwrought visual style, conjuring up such a vivid and endlessly interesting, self-contained cinematic world inside the claustrophobic confines of Michio's studio. Yes, The Blind Beast really is as outlandish as it sounds, and must rank as one of the most powerful and potently disturbing horror films ever conceived. For anyone with any interest in the horror/fantasy genre, this is quite simply mandatory viewing. A classic.

Aprimi II Cuore,sexy drama

Directed by Giada Colagrande, Aprimi II Cuore follows the obsessive and sometimes incestuous relationship between sisters Caterina (Colagrande) and Maria (Natalie Cristiani). Caterina, 17-years-old and shy, loves the arts and takes comfort in listening to music while her sister, a prostitute, entertains her nightly host of clients. Living in the apartment becomes harder with each passing day, as Maria is only allowed to leave to go to dance class. Despite Maria's efforts, Caterina falls for her dance teacher, Giovanni (Claudio Botosso), and series of perverse situations present themselves as the siblings compete for his attention. but who is Giada Colagrande?

Giada Colagrande (born 16 October 1975) is an Italian film director and actress.
Colagrande was born in Pescara, Abruzzo. She studied in Italy, Switzerland and Australia, and in 1995 she moved to Rome where she began making videoart and documentaries on the work of contemporary artists. From 1997 to 2000 she joined the art project VOLUME, where she made videos on Jannis Kounellis, Alfredo Pirri, Bernhard Rüdiger, Nunzio, Raimund Kummer, Gianni Dessí, Maurizio Savini and Sol Lewitt. In 1997 she directed her first short film Carnaval (13’, 35mm); in 1998 her second, Fetus – 4 Brings Death (23’, 35mm); in 2000 N.3 (7’, video).
In 2001 she wrote, directed and starred in her first feature film, “Aprimi il Cuore” (Open My Heart), which opened at the Venice Film Festival 2002, and then was selected by many international film festivals, such as the Tribeca Film Festival 2003, in competition, and Paris Cinéma 2003, where it won the award Prix de l’avenir. Giada was also nominated for Best New Director at Nastri d’Argento 2003. Open my Heart was released in Italy by Lucky Red and in the USA by Strand Releasing.
In 2005 she directed her second feature “Before it Had a Name”, which she co-wrote and co-starred in with Willem Dafoe. The film opened at the Venice Film Festival 2005 and was then showed in San Sebastián and other international film festivals. Before it Had a Name was distributed in USA and internationally with the title Black Widow.“A WOMAN”, written and directed by Colagrande, starring Willem Dafoe and Jess Weixler, is her third feature film and her third participation in the Venice Film Festival.Colagrande married actor Willem Dafoe on 25 March 2005

Talking about Camille 2000..Italian from 1969

Camille 2000 is a 1969 Italian language film based on the 1852 novel and play La Dame aux Camélias by Alexandre Dumas, fils. It was adapted by Michael DeForrest and directed by Radley Metzger. It stars Danièle Gaubert and Nino Castelnuovo with Eleonora Rossi Drago and Massimo Serato. The film featured a drug use theme not present in the source story. It may have been considered a pornographic film in 1969 but is more of a drama based on the expectations of a man finding the wrong love.

Marguerite, a beautiful woman of affairs, falls for the young and promising Armand, but sacrifices her love for him for the sake of his future and reputation.A sexed-up love story for the swinging Sixties, adapted from a literary source (Alexandre Dumas' 'La Dame aux Camelias') by screenwriter Michael DeForrest, and directed with freewheeling flair by Radley Metzger who, along with the likes of Russ Meyer and Joe Sarno, is credited with redefining the parameters of 'Adult' cinema throughout the 1960's and 70's. Using the scope format for the last time in his career, Metzger's exploration of 'la dolce vita' is rich in visual excess (note the emphasis on reflective surfaces, for example), though the film's sexual candor seems alarmingly coy by modern standards. Production values are handsome throughout, and the performances are engaging and humane (Castelnuovo and Gaubert are particularly memorable), despite weak post-sync dubbing. Though set in an unspecified future, Enrico Sabbatini's wacked-out set designs locate the movie firmly within its period, and Piero Piccioni's 'wah-wah' music score has become something of a cult item amongst exploitation devotees. Ultimately, CAMILLE 2000 is an acquired taste, but fans of this director's elegant softcore erotica won't be disappointed.

Life of Pi ...Movie that impressed me.

yes i watched the movie and i didnt feel before that i like it and i will got impressed again with the movie after i read the story long days ago. but i like every single detail in this movie maybe because i liked the story before  by Yann Martel published in 2001.A novelist has been advised by Pi's Uncle Mamaji to talk to Pi Patel, a middle-aged Indian immigrant from Pondicherry living in Montréal, Québec, who has an amazing story to tell. Pi's Uncle Mamaji told the writer that the story “will make you believe in God.”Pi's father named him Piscine Molitor after a swimming pool in France. As a child he changed his name to "Pi" (the mathematical symbol, π) because he was tired of being called "Pissing Patel". In flashback it was seen that his family owned a zoo, and Pi took great interest in the animals, especially a Bengal tiger named Richard Parker. When Pi tries to feed the tiger in great curiosity, his father runs in and angrily tells him that the tiger is dangerous and not like a human. He forces Pi to witness the tiger killing a goat to prove his point. Pi is raised Hindu and vegetarian, but at 12 years old, he is introduced to Christianity and then Islam, and starts to follow all three religions as he "just wants to love God." His mother supports his desire to grow, but his father, a rationalist, tries to convert him to his own way of thinking ("think rationally"). Pi meets a girl in a dance class where he plays the tabla and they evidently begin to fall in love.When Pi is 16, his father decides to move the family to Winnipeg, Manitoba, where he intends to settle and sell the zoo animals. Saddened by this, he bids farewell to his brief lover and promises to return. They book passage on a Japanese freighter named Tsimtsum. One night there is a storm; the ship begins to founder while Pi is on deck. He tries to find his family, but a crew member throws him into a lifeboat. Just as the ship falls into the sea, a freed zebra leaps from the ship to land on the boat with him. Pi then watches helplessly as the ship sinks, killing his family and the crew. After the storm, Pi finds himself in the lifeboat with the injured zebra, and is joined by an orangutan. A spotted hyena emerges from the tarp covering half of the boat. The hyena kills the zebra and then the orangutan. Suddenly the tiger, Richard Parker, emerges from under the tarp, killing the hyena. Richard Parker then takes numerous swipes at Pi, practically running him off the boat; the tiger then devours the bodies of the other animals at night.Pi gets out biscuits, water rations, and a hand axe and builds a small raft to stay at a safe distance from the tiger. Pi begins fishing and is able to feed the tiger. He also collects rain water for both to drink. When the tiger jumps off to hunt fish, at first Pi wants to let it drown, then he relents and helps it climb back into the boat. At one point, in a nighttime encounter with a breaching Humpback whale, Pi loses much of his supplies. A while later, Pi trains the tiger to accept him in the boat.

He also realizes that caring for the tiger is keeping him alive. After many days at sea, another thunderstorm approaches to Pi, as he thinks it is a 'sign' from God and prays to him. He tells Richard Parker to come out, as he stares at the frightening bolts of lightning, as Richard Parker gets scared of the storm. After a miraculous and scary lightning strike, Pi hides under the tarp as he makes it extend to cover the entire boat.Weeks later and half dead, they reach a mysterious floating island of edible plants, supporting a mangrove jungle, fresh water pools, and a large population of meerkats. Both Pi and Richard Parker eat and drink freely and regain strength. But at night the island transforms into a hostile environment: the fresh water turns acidic digesting all the dead fish that died in the pools, Richard Parker returns to the lifeboat, the resident meerkats sleep in the trees, the plants are carnivorous. Pi discovers the island's secrets when he finds a human tooth. The next day, Pi and the tiger leave the island.The lifeboat eventually reaches the coast of Mexico. Pi is crushed that the tiger does not acknowledge him before disappearing into the jungle. Pi is rescued and carried to a hospital, weeping. Insurance agents for the Japanese freighter come to interview him. They do not believe his story and ask what "really" happened. He tells a less fantastic account of sharing the lifeboat with his mother, a Buddhist sailor with a broken leg, and the cook. The cook kills the sailor in order to eat him and use him as bait. In a later struggle, Pi's mother pushes him to safety on a smaller raft, and the cook stabs her and throws her overboard. Later, Pi returns, takes the knife and kills the cook.
In the present day, the novelist notes the parallels between the two stories: the orangutan was Pi's mother, the zebra was the sailor, the hyena was the cook, and Richard Parker, the tiger, was Pi himself. Pi asks him which story the writer prefers, and the writer chooses the one with the tiger because it "is the better story", to which Pi responds, "Thank you. And so it goes with God". Glancing at a copy of the insurance report, the writer sees the agents wrote that Pi somehow survived 227 days at sea with a tiger: the insurance agents had also chosen the more fantastic story.

What a movie : Swept Away (1974)

An arrogant wealthy capitalist named Raffaella (Mariangela Melato) is vacationing on a yacht in the Mediterranean Sea with friends—swimming, sunbathing, and talking incessantly about the virtues of her class and the worthlessness of the political left. Her nonstop political monologue infuriates one of the underclass deckhands on her yacht, Gennarino (Giancarlo Giannini), a dedicated Communist who manages to restrain his opinions to avoid upsetting his boss and losing his good job. Despite her humiliating insults, Gennarino agrees to take her out on a dinghy late in the evening to see the rest of her friends who have gone ahead without her. On their way, the outboard motor gives out, leaving them stranded in the middle of the sea with no land in sight.After a night at sea, Gennarino manages to get the motor running again but has no idea where they are or how to get to land. Eventually they spot an island and head toward it, destroying their dinghy in the process. On land, they discover that there is no one on the island except them, and they are effectively shipwrecked. Accustomed to having everything done for her, Raffaella begins ordering Gennarino about, but this is the final straw for him and he snaps, refusing to assist her any longer. Raffaella reacts with a string of insults, but he gives as good as he gets, and they split up to explore the island on their own.

Much better suited to island life than Raffaella, Gennarino is soon catching lobsters and cooking them. Gradually their roles become reversed. While she has to rely on him for food, Gennarino wants her to be his slave, convinced that women are born to serve men. He even forces her to endure the indignity of washing his underwear. When she reacts in angry defiance, he slaps her around. Undeniably attracted to Raffaella, Gennarino attempts to rape her, but then changes his mind, deciding that it would be more satisfying if she gave herself to him willingly. He wants her to fall in love with him, and as their differences are gradually forgotten, they reach a kind of balance, although Gennarino still hits her and she takes the more subservient role. Eventually they spot a ship, and although they are both reluctant to disrupt their newfound paradise, they signal the ship and are rescued.After returning home, they soon revert back to their former lives and social roles—she once again embracing the upper class mores of her friends; he returning to a life of a lower-class worker and husband. They both understand something profound and unsettling about what they've experienced, but Raffaella is unwilling to abandon the society of privilege that has such a strong hold on her. Abandoned by the object of his desires, Gennarino returns defeated to his sad life and loveless marriage—far removed from an idyllic island in the Mediterranean Sea.

The Anonymous Venetian...1970 nice movie

Anonimo Veneziano (English: The Anonymous Venetian) is an award-winning 1970 Italian drama film written and directed by the Italian actor Enrico Maria Salerno in his debut as a film director. It starred American actor Tony Musante and Brazilian actress Florinda Bolkan.The film is especially notable for its romantic musical score, composed by Stelvio Cipriani. In 1970, Frida Boccara recorded the song "Venise Va Mourir", the main theme of the film (French version, lyrics by Eddy Marnay), later performing it at the Cannes Film Festival. Tony Renis recorded it as "Anonimo veneziano" (English and Italian versions, 1970) and "Venise Va Mourir" (1971, French version). Singers Sergio Denis (1971), Fred Bongusto (1971), Ornella Vanoni (1971), and Nana Mouskouri (as "To Be the One You Love", 1973), also performed the piece.

A Venetian musician is affected by an incurable disease. He arranges to meet his ex-wife, who is now living with another man in another city, but does not tell her about his condition. They walk through the streets and channels of Venice. They remember the happy times when they lived together, she in blissful ignorance of his terminal illness. He has to play a classic concert piece, recently discovered, but with no known composer, the 'Anonymous Venetian', in a concert hall. She finally realizes that she is still in love with him.