Kult Film [DVD] (English subtitles)

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Bogdan Balla is a Romanian experimental film director and freelance film critic based in Bucharest. He studies film directing at the National University of Theatre and Film and writes for FILM MENU. Besides directing and producing his own films, he also works as an independent freelance film critic. He reads bell hooks and is passionate about queer cinema. He has a preference for working with archival footage for his films. Tommaso Tocciis based in Italy, where he works as a film critic and translator covering film festivals across Europe for international publications. He has also worked for Berlinale Talents and for the Edinburgh International Film Festival, and he currently serves as Co-Programmer for the Saas-Fee Film Festival in Switzerland. O: Many. I have around 217 hours of footage, that’s a lot. 217 hours of material shot by us and around 50 hours of archival footage. It’s what I’ve collected from people’s private shelves. Much of the stuff in there belongs to the band members. Nothing is bought from television and it was first shown in this film. It took one year and a half to complete the final cut and that’s the 6th version of it. I was ten years old when director Richard Donner unleashed his silly, pre-teen adventure epic The Goonies and I fully admit that, as a result, my mantra for a time became: “Goonies never say die!”

This is a nostalgic grab bag of funhouse s and thrills that meant a lot to audiences as kids and may mean even more to them now as sentimental adults. The campy, kitschy, OTT excessiveness of it all makes Lady Terminator a lively, sexually charged, and silly pisstake on gender politics, Western beliefs, and irresponsible Western ideology. Oh, and did I mention that Lady Terminator has lethal eye lasers?Denisa Jašová is a PhD student of Audiovisual Studies at Academy of Performing Arts in Bratislava. As a Film Studies and Archival Science graduate, she specializes on archival research in film and TV history, especially on Czechoslovak amateur film and TV non-fiction programmes from 70s and 80s. She also works as aresearcher for TV documentaries, as alibrarian in the Central European House of Photography and as atalk show host in student radio talk show called Cinefil. She frequently writes for magazine Film.sk, IFF Cinematik Piešťany and her first paper about the history of Slovak amateur film will be released in October 2019 in Kino-Ikon magazine. She simply loves film archives. Impressed by his strange stage show at the Groundlings theater, Warner Brothers contracted Paul Ruebens to write a feature based around his quirky, child-like überbrat persona, Pee-Wee Herman. Inspired, strange as it sounds, by Italian neo-realist innovator Vittorio De Sica (specifically his celebrated 1948 film, The Bicycle Thief), Reubens wrote one honey of a nonconformist comedy and found the ideal director, a former Disney animator looking to leap into live-action features, Tim Burton. Armed only with a treasure map, some Baby Ruth candy bars, a few zany inventions, their wits, and a bag of marbles, will the Goonies be good enough to find the fortune, and with it save their neighborhood from demolition? And will the image of a tormented Chunk (Jeff Cohen) doing the “truffle shuffle” at Clark “Mouth” Devereaux’s (Feldman) mean-spirited request ever fade from your memory? Director and co-screenwriter Kathryn Bigelow bravely reimagines the vampire mythos with a trailer-park Americana sensibility in her astonishing sophomore film, Near Dark. A genre mashup of two formulaic film types––the Western and the vampire movie––Near Dark also offers a romantic and contradictory fable for the midnight movie crowd. Leading the way, is vocalist and saxophonist Kazik Staszewski, now in his mid-fifties but seemingly with no intention of slowing down. He co-founded the band with Dariusz Gierszewski and they, plus the other members of the group happily talk about the ins and outs of the band's dynamic as they travel about or socialise between gigs. The emotional heart of the story is provided by one of their most faithful fans, Rafa? "Didi" Diduch, who after following them around to gigs with so little money he even spent a night in the cells found himself taken under Staszewski's wing.

You have to be patient to make this kind of film because of the amount of footage you have to skim through. So, yeah, there are many scenes I would have loved to add but I have to separate what I love about them and focus on what the audience wants to see. O: Yes, I had that. For the first month; then it was gone. I used to do the band's feature movies and that’s all scripted. You know what everything is doing and wearing and what is around them. But in documentaries you need to know what you want to display on the screen and then find it. You need a little bit more patience and you need to avoid trying to force it happening. It’s also fair to say that this is a film for extreme fans but, that said, admirers of David Cronenberg (particularly 1983’s Videodrome) and David Lynch (shades of 1977’s Eraserhead are ample) might dig some of the surreal strangeness as well. Mladen Pechevski is a film industry freelancer currently based in Sofia, Bulgaria. In 2019, he was a jury member of the Giornate degli Autori section at the 76 th Venice International Film Festival and was subsequently heavily involved in organizing the autumn edition of the Sofia International Film Festival for Students. In 2020, he worked as an assistant consultant for the Giornate degli Autori section at the 77 th Venice International Film Festival. Mladen is passionate about European cinema and would like to further acquire first-hand experience covering international festivals as a film critic. F: You said that you’ve been shooting this film for more than six years. Were there any scenes that you really liked that didn’t make it to the final cut?More akin to Hill’s comic book colorful, overtly stylish, and extravagantly violent fare like The Warriors (1979), this singular and strange pastiche of 1950s biker films and then contemporary 1980s music videos is a fun, fast-paced, and fist-pumping ride that’s worth it not only for the dreamy Lane, but for Madigan’s tenacious tough girl (she also gets all the best lines), Dafoe’s scenery-chewing, and early roles from Bill Paxton and Ed Begley, Jr., amongst others. Svetlana Semenchuk is anauthor of such publications on cinema as “Seanse”, “The Art of Cinema”, “Cinema TV” and other.The author-composer of the books “S. M. Eisenstein: pro et contra: Sergey Eisenstein in national reflection: anthology” and “E. F. Bauer: pro et contra. Eugene Frantsevich Bauer in assessments of contemporaries, colleagues, researchers, film critics. Anthology”. Teacher of the St. Petersburg New Cinema School, and at the St. Petersburg State University of Cinema and Television.