Tsuyama Naoko (segment "泊ったら最後")
Hiroshi Takahashi (segment "泊ったら最後")
Keizo Nagao (segment "泊ったら最後")
Kura Nishi Yoko (segment "泊ったら最後")
Get ready for a wildly diverse, star-studded trilogy about life in the big city. One of the most-talked about films in years, New York Stories features the creative collaboration of three of America's most popular directors, Martin Scorsese, Francis Coppola, and Woody Allen.
An uproarious version of history that proves nothing is sacred – not even the Roman Empire, the French Revolution and the Spanish Inquisition.
Three distinct tales unfold in the bustling city of Tokyo. Merde, a bizarre sewer-dweller, emerges from a manhole and begins terrorizing pedestrians. After his arrest, he stands trial and lashes out at a hostile courtroom. A man who has resigned himself to a life of solitude reconsiders after meeting a charming pizza delivery woman. And finally, a happy young couple find themselves undergoing a series of frightening metamorphoses.
Centered around a television station which features a 1950s-style sci-fi movie interspersed with a series of wild commercials, wacky shorts and weird specials, this lampoon of contemporary life and pop culture skewers some of the silliest spectacles ever created in the name of entertainment.
In 1987 Oakland, a mysterious force guides The Town's underdogs in four interconnected tales: teen punks defend their turf against Nazi skinheads, a rap duo battles for hip-hop immortality, a weary henchman gets a shot at redemption, and an NBA All-Star settles the score.
This bittersweet film was Roman Vávra's feature debut. The film consists of three independent stories, all connected through the motif of a field of grain. In 'Awn' a young couple takes a summer stroll in the country, in 'The Haystack' a gang of boys have an adventure with an older girl, and 'The Journey' recounts the tragicomic homecoming of a pair of aging newlyweds. For only the second time in the nineties Czech star Iva Janzurová appeared on the silver screen.
Three separate stories all concern the relationships between adult children, their somewhat distant parent (or parents), and each other. Each of the three parts takes place in the present, and each in a different country. Father is set in the Northeast U.S., Mother in Dublin, Ireland, and Sister Brother in Paris, France. The film is a series of character studies, quiet, observational and non-judgmental. A comedy, but interwoven with threads of melancholy.
In these sexy, fun and darkly entertaining boys shorts, we see the hilarious terrors of gay childhood, an Internet hook-up with unexpected motivation and what happens when you hate musicals. You might wonder if theres hope for a gay Lothario, and sometimes you'll see that when you go home, the end is just the beginning.
Aliens invade an aerobics class before the credits roll in this horror anthology spoof illustrating outrageous stories that could easily be found in a tabloid newspaper at your local grocery store checkout! The stories are: Baby Born With Full Beard, BBQ Of The Dead, and Killer Vacuum Destroys Town
Nanni Moretti recalls in his diary three slice of life stories characterized by a sharply ironic look: in the first one he wanders through a deserted Rome, in the second he visits a reclusive friend on an island, and in the last he has to grapple with an unknown illness.
Ten screenwriters collaborated on this series of tales concerning the effect a tailcoat cursed by its tailor has on those who wear it. The video release features a W.C. Fields segment not included in the original theatrical release.
A compendium of three short science-fiction films, each with a decidedly feminist slant.
Five new stories of grueling horror: A Christmas Haunting, Zombie Office, Undone, Unchangeable and The Psychomanteum - ghosts, zombies and bloody revenge.
An anthology of four diverse stories about identity and belonging through prism of love and loss, sexuality, marriage and wish to fulfill dreams.
This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.