Furious is an unexplored dimension populated by cackling sorcerers, whispering statues, fat adolescent warriors and lots and lots of live chickens. Furious is power. It’s magic. It’s a kaleidoscopic siege on the concept of storytelling. And Furious is “RED HOT KARATE ACTION! Filmed entirely on location in Southern California!”
A young boy wants to work with a famous creature/fx man but gets more than he bargained when one of the creatures, The Ultra-Gorgon, takes him under his wing. Literally.
Shiva is blessed with magical powers of charming snakes. When he meets Paro from a nearby village, he falls head-over-heels in love with her. She is also attracted to him. But Paro's dad, Choudhry Charanjit Singh is not pleased with this match, and he hires men to subdue and kill Shiva, all in vain. Then Shiva attempts to rescue Paro from a shape-changing snake, and this earns him the wrath of his mate - another shape-changing snake, who will not rest until Shiva is dead. {this is not the actual story of the film}
A lowly but academically diligent warrior named Bessho Hikoshiro finds himself unable to move up in the world due to the stifling caste system of the Bakumatsu era. After being expelled from the household into which he was adopted through marriage and separated from his wife and son, he moves in with his disapproving elder brother and his wife. He meets his old class rival Enomoto Takeaki, now a commander of a naval ship, and is later told by a kindly noodle shop owner that Enomoto's rise in social status came about after he prayed at a shrine in Mukojima. Stumbling home drunk one night, Hikoshiro falls down a riverbank and comes across a small run-down shrine which he is convinced is affiliated to the one in Mukojima. Pressing his hands together in prayer, he unwittingly invites the unwanted attentions of the gods of poverty, pestilence and death..
After an extended period directing original screenplays, dos Santos returned to the creative engagement with literature that was the wellspring of his early masterpieces, offering a combinatory adaptation of five stories by the renowned Brazilian novelist João Guimarães Rosa. Openly embracing a mode of magical realism, dos Santos' celebrated film tells the story of a farming family defined by the absence of its father who abruptly abandoned his wife and children, sailing away down the river, including his son who continues to communicate with his father, speaking daily to him from the river bank. While offering an evocative vision of rural Brazil as a timeless land of mystery and solemnity, The Third Bank of the River is also bitingly satiric in the remarkable depiction of religious belief when the family moves to the city and its youngest member, a mesmerizing little girl, is revealed to be a kind of saint, capable of miraculous acts. -Harvard Film Archive
Six people from different backgrounds find themselves fighting for their lives when they are swept up into a fantasy adventure in a theme park, where the dangers are real, the supernatural is the norm, and escape is next to impossible. They must pool their resources and skills in order to survive the jungle setting, if they are ever to return to their own world.
Two kings: Fedot and Amphibrachiy have been adjoining peacefully for many years. But once Amphibrachiy disappeared, and it became difficult for queen to cope with affairs. The state began to fall into decay. Also daughter Alyona absolutely got out of control. So mother decided to marry her. The king Fedot had three sons: Paul-tsarevitch, Peter-tsarevitch and Ivan-tsarevitch, whom everybody considered to be a fool. But he managed to gain Alyona's heart and, having won Kashchei the Immortal, set free the king Amphibrachiy.
Set in the candy-colored world of 1950s suburbia, a reluctant young housewife suspects that the friendly neighborhood dentist is hiding a horrible secret, but is it just the anesthesia at work or is there something more sinister hiding below the surface? Open up and say AHHHHHHHH!
German-language version of Duvivier's MARIANNE DE MA JEUNESSE, filmed separately with a largely different cast (thus, not the same film). No known US release.
A high board fence is shown covered with theatrical posters. The one in the center shows the head and shoulders of a pretty girl. An old farmer and his wife are strolling along, the old gentleman being a little ahead. He looks at the picture of the girl and fancies he sees the eyes winking at him. He puts on his glasses to make sure that he is not dreaming, when the girl leans forward with an expression as if inviting him to have a kiss. (Biograph Catalog)
Val has lost control of her life. Those around her deny the reality of the extraordinary experiences she feels powerless against. Realizing she must stand alone, she has only one remaining option - to find a way to fight back.
The Korean Academy of Film Arts has produced an animation for 3 consecutive years through a collaborative project. Considering the severe reality of Korean animation in that it lacks an industrial infrastructure, "The House" demonstrates the possibilities of Korean animation and the efficiency of collective production. While comparing apartments in the downtown core to the shabby environment of a marginalized district, "The House" portrays the collapse of the spirits dwelling at the house. As such the adventure of Ga-young and the spirits in the house becomes a criticism of modern society: enlightenment via animation. Although this animation may not have the most delicate or original style, the 5 animators that worked on this film unleashed their imaginations, ultimately showcasing the power of a collective process and a pleasure of the collective imagination.