Les Sièges de l'Alcazar (1989)
장르 : 코미디, 역사
상영시간 : 54분
연출 : Luc Moullet
각본 : Luc Moullet
시놉시스
Guy, film critic of the Cahiers du Cinéma and terminal cinephile, plans to write about the Vittorio Cottafavi retrospective at the Alcazar, his local cinema. One day he notices that Jeanne, film critic of Postif, the rival magazine, seems to be following him. He is intrigued-- is she interested in him, or planning to poach his praise for Cottafavi in her own article?
궁극의 영화를 찾는 수집가 벨린저는 상영 당시 관객들로 하여금 극심한 혼란과 유혈 사태를 일으켰다고 알려진 "세상의 완전한 끝"이라는 영화를 찾고 있다. 벨린저의 의뢰를 받은 프로그래머 커비는 필름을 찾기 위해 기이한 여행을 시작하지만, 불안한 징후들이 다가오고 영화에 관련된 모든 사람들이 죽었다는 사실을 알게 된다. 목숨을 걸고 프린트를 손에 넣은 커비로부터 마지막 남은 필름을 넘겨받은 벨린저가 알게 된 영화의 실체는 과연 무엇일까..?
영화 평론가인 로저 에버트의 자서전을 바탕으로 제작되는 다큐멘터리로 마틴 스콜세지 감독이 제작을 맡는다.
A series of bizarre and disturbing murders rock the city of Mumbai. Film critics are being killed week after week with the release of every new film. Arvind Mathur, Head of Crime Branch Mumbai, is tasked with solving the case. With the help of Zenobia, a criminal psychologist, he tries to understand the mind of the killer to trap him.
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An introduction to the great film critic Raymond Durgnat's appreciation of the nature of cinema.
Starting as an investigation, the film begins with the discovery of a murdered young woman. Gradually we go back in time to realize that this crime is altogether the logical continuation of a philosophy of life where neither sex nor death are taboo, and where a lust for pushing limits meets it ultimate conclusion.
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A prominent film critic writes a scathing review of a new horror film, and is abducted by the film's mentally unstable director, who subjects him to an eye-opening experience.
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Famous Spanish film critic Alfonso Sánchez talks about his personal life, his work and Anouk Aimée. A sentimental tribute to one of the most relevant figures on the Spanish film scene.
영화가 사라진 세상, 모든 것을 영화처럼 해석하는 남자가 나타난다.
영화제에 초청받아 가고 싶은 수혁은 또 떨어져서 심사위원을 만나러 간다. 심사위원의 집 앞에 대기하다가 그의 집에 들어선 수혁. 둘의 영화에 대한 싸움이 시작된다.
i also watcha you.
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Guy, film critic of the Cahiers du Cinéma and terminal cinephile, plans to write about the Vittorio Cottafavi retrospective at the Alcazar, his local cinema. One day he notices that Jeanne, film critic of Postif, the rival magazine, seems to be following him. He is intrigued-- is she interested in him, or planning to poach his praise for Cottafavi in her own article?