The flirtatious wife of a writer’s lover with güldürüsü. Married screenwriter (Let the glass), conflict with his wife, Dudu. is to leave the house. Meanwhile, gangsters chasing Haley (Canan Ceylan), writer’s refuge in his house. Make up a lie to stay at home. Hale senaristen rapprochement between them begins. However, writer’s aunt comes home one day. Aunt, sees bride for the first time, introduces as his wife, screenwriter This time the repair work in the home, Shabana (Yuksel Gözen) income. Saban recognizes the writer’s real wife. Returning home cabinets can not understand a thing. Dudu (Dilber month) when we go back home one day, everything is revealed.
Language: Japanese (English .srt subs)
A rebellious youth caught up in the student protests of the turbulent 1960s unintentionally kills a policeman before setting out on a violent and passionate crime spree in director Toshio Okuwaki’s classic piece of Japanese erotica. Arrested for his crime, the young man is en route to jail when he breaks away from the authorities and stumbles across a beautiful but suicidal young woman on the beach. As the impulsive pair enter into a intense romance that frequently threatens to erupt into violence, it becomes increasingly obvious that their lives, however brief they may be, will now be forever changed.
Color: Black and White
For more than a month, eating only powered sugar, a woman tries to deal with a breakup: she paints her room twice, removes the furniture, writes and rewrites a letter to her lover, clarifying all she had said. She spreads the pages on the floor. She lies down and waits. Finally, her sugar eaten, she is hungry and leaves. She flags down a truck; she and the trucker drive through the dark, stopping at a diner and bars. He asks for a hand job, she complies. He talks about his wife, children, and sex life. She arrives at the flat of her lover, a woman, who tells her she cannot stay. She says she is hungry, so her lover feeds her then allows her to stay the night. They make love.
Country: France / UK / Germany / Spain
Jay, a failed musician, walked out of his family and now earns a living as head bartender in a trendy London pub. Every Wednesday afternoon a woman comes to his house for graphic, almost wordless, sex. One day Jay follows her and finds out about the rest of her life (and that her name is Claire). This eventually disrupts their relationship.
Country: Italy | UK
An alienated 15-year-old, (Freddie Cunliffe) forced to move away from his friends in London when his family relocates to rural Devon, struggles with the change and becomes an observer of the family. His mother (Tilda Swinton) is pregnant, his dad (Ray Winstone) is vocally abusive, and his 18 year old sister (Lara Belmont) is sexually active and open to her brother. However, the boy guesses at and finds that he is correct that his father has had sexual relations with his sister.
A captivating work of art.
A film dealing with the subjects of rape and incest could easily be sensationalistic and, consequently, undermine the very issues it supposedly tackles. It is, therefore, highly commendable, and testament to Tim Roth’s skill as a director, that the War Zone does not cheapen its plot by doing this, but instead, provides a sensitive, dignified and beautiful treatment of the devastating effects of a father’s depravity on the rest of his family, and, indeed, on himself.
One of the most striking aspects of the War Zone is the stunning and epic cinematography. Filmed in Devon, on the southwest coast of England, bleak, grey skies, the vicious sea and jutting cliffs frame the desolation of the central characters of the movie: Tom, the son, and Jessie, the daughter. The former, a withdrawn teenager, is devastated when he unwittingly discovers the secret relationship between his sister and father, and struggles with hatred and horror for them both, as he endeavours to find out the depths of the depravity he is privvy to. Jessie is equally, though differently, affected by the actions of her father. As she attempts to hide the truth from mother and brother, while also in turmoil over her own part in the secret, she feels a burden that manifests itself in moments of self-loathing, anguish and despair. However, the true depths of these emotions are never laid out for the audience, never portrayed in such a way that they could simply wash across our path and be discarded; they are merely hinted at, shown in fleeting moments. The fact that the protagonists in the film are being tormented by the events they are part of is obvious; it is left up to the individual to interpret and imagine the depths of the feelings being felt. This subtlety serves to add realism to the film, and also heightens the harrowing effect of it, as the events and feelings hinted at, or partly displayed, are absorbed and twisted by the mind of the viewer, almost contaminating him by forcing him to do the work in fully comprehending the goings- on in the family; making him empathise with Tom.
Although the emotions and feelings the characters in the film undergo are shown in an equivocal manner, several scenes are, in contrast, stark, with events lain bare to the audience. Again, this could be a point at which the War Zone sensationalises the subject matter. However, even the supposedly shocking scene between Jessie and the father is portrayed with sensitivity through the dignified direction. Indeed, in a film made as the War Zone is, it would undermine the very realism of it to avoid showing what goes on between the father and daughter. It is a movie that endeavours to show the realities of abuse in a family, and to gloss over an aspect of this would lead to an unfulfilling exploration of the subject. To re-iterate, though, it is testament to the skill of Tim Roth, that while not hesitating to show the full horror of abuse on screen, he does so in a way that does not cheapen the feelings of those involved. Indeed, there is almost an air of gentleness in several of the more harrowing scenes; despite stark images being portrayed, one feels they are being shown in a highly respectful manner.
The War Zone is, in sum, a beautifully artistic piece of cinema. The cinematography, solemn, despairing music, slow yet strong direction, and fine acting contribute to a film that, though harrowing, is highly rewarding and enjoyable. I think the fact that it offers no answers or “satisfying” resolution to the events it has portray is again something the serves to add realism to the subject matter. After all, abuse is not a topic to be resolved without reducing it to trite concessions to viewers keen not to be forced to realise that some facets of life are not rounded, with simple answers and easy reprieves, but jarring and jagged, with no answers, resolution, or simple end.
Language: English | Subs(idx/sub): Dutch
Siberia 1953: Ilsa is now working in a Gulag prison camp. Her mission is to ‘retrain the minds’ of those who don’t agree with the communists. But prisoner, Yakurin, is more difficult than the others. Ilsa is not one to give up, though. ‘We will break you’, she promises. However, when Stalin dies, the camp closes down, Ilsa and the guards kill the prisoners and leave. But Yakurin survives. In 1977, Yakurin is the coach of the Soviet boxing team, and on a visit in Montreal, he lets the boxers visit a brothel. The owner of the brothel isIlsa and her colleagues from the Gulag camp. Ilsa sees Yakurin and wants a second chance to finish ‘breaking’ him, and Yakurin wants to get revenge…
Language: English dubbed
Maria (Lina Romay) is sentenced to life in prison for the murder of her sexually abusive father (Jess Franco). Upon her arrival at the prison, she meets the cold-blooded, sadistic wardress (Monica Swinn) and the spineless and equally sadistic Dr. Costa (Paul Müller). Together the two systematically torture and abuse the inmates, including Maria, who organizes a plan to rebel and escape…