Thieves hijack an aircraft loaded with diamonds, and then must face deadly Amazonian headhunters when the plane crashes in the jungles of Caxambu, Brazil.
Tag: 1960s
A little manikin (made of a few twists of stubby wire) juggles balls around him, always preferring the biggest and brightest and overlooking a plain white one, the oddball. It is only when the other balls turn fickle and elude his grasp that he discovers the worth of the little white ball.
Filmed in 1965 and just as contemporary now as it was then, Yuri Ilyenko’s directorial debut, A SPRING FOR THE THIRSTY, is a surreal cinematic poem from the cinematographer of Sergei Paradzhanov’s SHADOWS OF FORGOTTEN ANCESTORS. As director-cinematographer of A SPRING FOR THE THIRSTY, Ilyenko has created a parable centering on an old man who lives a secluded life in the desert, alone with only his memories and photographs. His wellspring, once a source of joy and hope for thirsty passersby, is now rarely used. No longer able to find comfort in his memories, he turns all his photographs to face the walls.
While it’s not really a part of the Hillman-movies, Vita frun features Holmsten as the detective Hillman and along for the ride is also regulars Hallberg and Granhagen. The plot is simple enough: A ghost, called “vita frun” (The White Lady), is blamed for the strange deaths that occur at a country manor. But is it really a ghost?
Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach.
Zé is a very poor man from the Brazilian countryside. His most prized possession is his donkey. When his donkey falls terminally ill, Zé makes a promise to Saint Bárbara: If his donkey recovers, he will carry a cross – like Jesus – all the way from his city to Saint Bárbara’s church in the state capital. Upon the recover of his donkey, Zé leaves on his journey. He makes it to the church, but the priest refuses to accept the cross once he came to know the context of Zé’s promise.
The ‘imperfections’ of filmmaking, which are normally suppressed, are at the core of a work that uses a brief loop made from a Kodak colour test. “The dirtiest film ever made,” is one of the earliest examples of the film material dictating the film content. It may seem minimal, but keep looking – there’s so much going on.