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In MASCULIN FEMININ, shot in the autumn of 1965, Jean-Luc Godard studies the perennial features of courtship and dating between young men and young women, and the particular way they worked out in the newly permissive and economically booming society of 1960s France. Paul (Jean-Pierre Léaud) is 21 and has just finished his national service. In a café, he strikes up a conversation with Madeleine (Chantal Goya), a friend of a friend, with the pretext that she might help him find work. They start dating, and the film then tracks their rocky relationship, where Paul is frustrated as the sole man among Madeleine and her flatmates/girlfriends Elisabeth (Marlène Jobert) and Catherine-Isabelle (Catherine-Isabelle Duport). He occasionally meets up with his chum Robert (Michel Debord), just as young but already a passionate union activist. But really, this is a lot more than a study in boy meets girl. Godard gives us a whole bucket of 1960s social, political, and cultural themes. Paul and Robert are both passionate members of the French Left, while the girls are more interested in the other side of the ideological divide, namely consumer society (pop music, clothes, cars). Their conversations reveal Godard's own unease at how the world was developing in the 1960s, his fears of political repression, dizzying technological progress, and a working class who had no time to enjoy all the stuff it could now buy. At several points in the film, the main characters overhear conversations in public places that are completely over-the-top in terms of sex and violence, but which reveal some of the tensions in society. In fact, in one of the film's most striking scenes, Godard without warning has Leáud interview a real young woman (Elsa Leroy) who had recently won a fashion magazine's "girl of the year" award, asking her about politics, war, and what she wants from life. In this six-minute scene where only she is visible on camera, clearly put on the spot, she seems totally oblivious to the war in Vietnam and other great issues of the day. Your reviewer is quite a passionate armchair historian about 1960s youth culture in Europe, and like many other books and films, MASCULIN FEMININ shows that many of the issues of the day are still very relevant for us in the new millennium. For this film, Godard's usual cameraman Raoul Coutard was unavailable, so he brought in Willy Kurant. While the two reportedly quarreled during the production, Kurant pulls off some remarkable long takes, again elevating a boy-meets-girl or boy-and-girl-have-rocky-relationship story into a delight for the eye. The use of sound (live sound from the cafés in which they shot, the occasional peal of gunfire) is also distinctive. MASCULIN FEMININ is perhaps less raved about than other Godard films from this time. It can arguably be called a minor effort in its recycling many elements from earlier productions while still searching for a way forward. That recycling isn't a bad thing, however, as the use of formal elements (division into tableau, a brutally abrupt ending) from Vivre sa vie, for instance (not to mention other earlier efforts), works just as well in the context of this story. I was initially baffled by the ending and how the film led up to it, but the more I look back at it, the more I'm impressed.
A man is sent back and forth and in and out of time in an experiment that attempts to unravel the fate and the solution to the problems of a post-apocalyptic world during the aftermath of WW3. The experiment results in him getting caught up in a perpetual reminiscence of past events that are recreated on an airport’s viewing pier.
Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.
Sam returns to Chile from the USA after his parents divorce. Left with a sexually-abusive nanny, he makes friends with some other neglected kids: Isabel, whose mother suffers from depression after the disappearance of her father and brother, and Daniela whose mother is dead and whose father is an alcoholic. The teenagers get together to make a slasher film dealing with family issues, and finally confront their demons.
At a sizable public college, high-minded student Eddy is forced to room with the slovenly Stuart, but the pair strike up a surprising friendship. When attractive co-ed Alex is assigned to live with the two male students because of her gender-neutral name, a roundabout love triangle ensues. Eddy secretly yearns for Stuart, who wants Alex, but she prefers Eddy. The complex situation leads to sexual experimentation and strained relationships.
Inside the Kit Kat Club of 1931 Berlin, starry-eyed singer Sally Bowles and an impish emcee sound the clarion call to decadent fun, while outside a certain political party grows into a brutal force.
Kurt and Lydia are planning a relaxed vacation at the Gripsholm castle in Sweden . What Lydia does not know is that for Kurt, a well-known publicist, the journey is actually a flight from encroaching fascism and a direct threat from the Nazis.
With a reputation for seducing members of the opposite sex, regardless of their marital status, a notorious womanizer discovers a beauty who seems impervious to his charms. However, as he continues to pursue the indifferent lady, he finds himself falling in love.
Shirin is struggling to become an ideal Persian daughter, politically correct bisexual and hip young Brooklynite but fails miserably in her attempt at all identities.
Jenna agrees to a sexy weekend fling with her materialistic girlfriend Kate and the worldly Mia, but as the night unfolds, Jenna notices strange details about each of them, as the love triangle starts to crack.
In 1967, during the making of “La Chinoise,” film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.
High-school student Camille Collins finds herself in a social media spin-out after her crush, Dylan, spreads rumors that she’s a bad kisser. So, Camille creates a “kiss list” to prove Dylan wrong and find her one true love. Her plan derails early and often, with social media meltdowns and backlash from classmates, her best friend, Liam, and her single mom, who struggles with her daughter’s bisexuality. Adapted from Sara Jo Cluff’s young-adult book of the same name.