Kino International in DVDs & Videos

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It's hard to speculate how cinema would have developed if there had been no D.W. Griffith, but without his groundbreaking contributions, the narrative possibilities of motion pictures would not have evolved so quickly. This thorough documentary by Kevin Brownlow and David Gill explores Griffith's contributions to the art of cinema and the controversies and scandals that surrounded everything he touched. It's the type of project that will change the way film buffs view Griffith's work and help audiences come to terms with his most notorious and innovative work, THE BIRTH OF A NATION.

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This collection contains 14 theatrical features from the 1970s. Films include THE ICEMAN COMETH; A DELICATE BALANCE; THE MAN IN THE GLASS BOOTH;RHINOCEROS; BUTLEY; THE MAIDS; LUTHER; IN CELEBRATION; THREE SISTERS; THE HOMECOMING; GALILEO; LOST IN THE STARS; PHILADELPHIA, HERE I COME; and ALIVE AND WELL AND LIVING IN PARIS. Nominated for several Academy Awards and featuring some of the biggest stars of their time, these features are examples of how seamlessly theatre can translate into film.

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Asami Ogawa (BEAUTIFUL GIRL HUNTER) might seem like an average office worker with her conservative outfits and pleasant demeanor, but underneath lurks a sex-charged woman. Part of Nikkatsu Studio's Roman porn series, this film is a unique look at another side of 1970s Japanese filmmaking.

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Atom Egoyan (THE SWEET HEREAFTER) executive produces this engaging romance about culture clash in Canada. Sabah (Arsinée Khanjian, CODE UNKNOWN), a Syrian immigrant in Toronto, falls in love with a Canadian carpenter who shares neither her heritage nor her family's Muslim beliefs. As their relationship grows, Sabah tries harder to conceal the romance from her traditional family, but she can't hide their love forever. With echoes of MISSISSPPI MASALA and GUESS WHO'S COMING TO DINNER, this film from director Ruba Nadda explores interracial romance with humor and intelligence.

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1927 version of Harriet Beecher Stowe's Abolitionist novel disturbed its audience at the time because of its chilling depiction of the horrors of slavery. However, much of the film's treatment of African-American characters reflects the unfortunate attitudes of its time which may offend some. Despite this, director Pollard displays a remarkable sympathy for the inhuman suffering his characters had to endure.

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This adaptation of Ionesco's absurdist classic was part of the American Film Theater series, conceived in the 1970s by producer Ely Landau and meant to be shown theatrically just like a play, with tickets sold in advance. Gene Wilder stars as Stanley, a depressive young man who abhors virtually all of humanity with the exception of his neighbor John (Mostel, in a bravura performance) and a beautiful young coworker named Daisy. Morosely cultivating his nonconformity, Stanley is disturbed at first when the inhabitants of his town begin turning into human rhinos, explained initially as rhinoceritis by local pundits. However, when just about everyone in town begins falling prey to the disease except for himself, Stanley wonders whether something else may be responsible for the phenomenon.

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Brought back together by the death of a friend, four women in their early thirties get reacquainted and embark on a wild week-long excursion which will test their loyalties and reveal secrets all around.

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This adaptation of John Osborne's LUTHER was part of the American Film Theater series, conceived in the 1970s by producer Ely Landau and meant to be shown theatrically just like a play, with tickets sold in advance. Stacy Keach stars as Martin Luther, the German priest who, during the 16th century, challenged the Roman Catholic Church and, during a movement known as the Reformation, created a new form of Christianity. The film begins with Luther as a young novice and follows him as he becomes an expert theologian who is moved to write the 95 Theses, a series of protestations against a church he saw as corrupt. Soon, Luther is taking his message to the people, which in turn forces him to go before the very church he is denouncing and face their judgment.

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With his signature cold, cerebral style, his long slow takes, and meticulous action, Austrian director Michael Haneke (CACHE, THE PIANO TEACHER) presents a series of isolated scenes of unrelated people that culminates in an act of sudden and senseless violence in a bank. 71 FRAGMENTS OF A CHRONOLOGY OF CHANCE delves into some of the prevalent themes of Haneke's earlier films THE SEVENTH CONTINENT and BENNY'S VIDEO: existential isolation, the oppressive force of contemporary western civilization, the effects of television on human experience, and sudden inscrutable violence. Similar to Antonioni, Haneke has become one of the contemporary cinema's greatest provocateurs, deliberately withholding crucial information and denying any audience expectation. The eerie and beautiful 71 FRAGMENTS OF A CHRONOLOGY OF CHANCE hovers between a terrible nihilism and a tenuous humanism.

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Dozens of short art films from director Lech Majewski are assembled here into a single work. GLASS LIPS centers on a man's musings while he is in a mental institution.

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Set in rural Russia, Marina Rasbezhkina's feature film received the Golden Plaque award at the Chicago International Film Festival for its artful portrayal of Soviet history. The film follows a woman living in a small Russian village after World War II. Working as a tractor driver at a collective farm, she feels extra pressure to bring home money when her husband returns from the war an amputee. This event indirectly leads to her winning of the Red Flag, a distinction which brings her both pride and burden.

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This adaptation of Jean Genet's THE MAIDS was part of the American Film Theater series, conceived in the 1970s by producer Ely Landau and meant to be shown theatrically just like a play, with tickets sold in advance. The film stars Glenda Jackson and Susannah York as two sisters named Solange and Claire who work as maids for their strict Madame. However, when Madame leaves the house, the two sisters dress up as their masters and take turns humiliating one another as the surrogate Madame. This masterpiece of the absurd blends Genet's acerbic existentialism with cutting surrealist humor.

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Young and in love, newlyweds Helene (Mary Johnson) and Sommer (William Dieterle, who also directed) endure an enforced separation when the accidental death of a nightclub owner--who was harassing Helene and incurred her husband's wrath--lands Sommer in jail. There his sexual longing finds other outlets in the absence of women, namely with a handsome young cellmate. Meanwhile, Helene aches for the comfort of her husband's embrace, and she finds solace in the arms of her kind employer. Exemplary of the creative freedom and unfettered cultural mores of Germany's Weimar period, this gem of the silent period was later banned under Nazi law. Dieterle's treatment of his subject matter is remarkable both for its lack of inhibition and its mixture of melodrama and eroticism with genuine tenderness. The stunning photography, craft, and restrained, subtle performances make this film an enduring masterpiece.

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Despite being radically unconventional, late auteur Derek Jarman's 1979 film has been hailed as one of the most successful adaptations of the Bard's works by several Shakespeare scholars. Jarman removes much of the dialogue, instead carrying the story with his trademark haunting images, lit mostly by fire and the moon. Using the prevalent English punk sensibility of the time, he also employs undertones of closeted gay society. Poet Heathcote Williams plays the banished Prospero with a frustrated intensity, while Karl Johnson is the spritelike Ariel. Together on a remote island, they become prisoners of a dark fantasy realm filled with secret signs and codes, where they attempt to use magic to turn the world into a more spiritually satisfying place. Meanwhile, Prospero's daughter, Miranda (Toyah Willcox), wanders the halls of his foreboding fortress, outrageously costumed in a stunning combination of period and punk tatters as she draws strangers into her home while longing for freedom. Shot on location at Stoneleigh Abbey, Jarman's film creates a dreamlike world within each room that is lushly lit and decadent in its wasteful decay. As the tale progresses, Prospero's illusions become false realities, culminating in a sumptous wedding feast that features a Busby Berkeley-like performance of sailors dancing as Elisabeth Welch sings "Stormy Weather."

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When a seven-year-old Brooklyn boy's older brother tricks him into thinking the tyke has killed him, the youngster takes what money he can find and hightails it to Coney Island. While his brother searches for him, the scared runaway encounters all manner of adventures among the summer throngs. A pioneering independent dramedy from writer-producer-director Morris Engel, LITTLE FUGITIVE won the Silver Lion Award at the 1953 Venice Film Festival. Academy Award Nominations: Best Motion Picture Story.

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Nikkatsu studios of Japan made worked in multiple genres, but they are best known for their roman porn series, and TATTOOED FLOWER VASE is a perfect example. An entangled sexual rivalry between mother and daughter emerges after a handsome young man enters their lives in this classic film of the Japanese pink era.

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Living together in a claustrophobic home in a rundown part of Tianjin, China, stepsisters Tao Lan (Lin Liu) and Yu Xiaoquin (Yun Li) are forced to share everything, yet they couldn't have less in common. Tao Lan is a free spirit who is proud of her working-class roots, while studious Yu Xiaoquin is attractive and sophisticated; their antagonism is heightened by favoritism from their parents. When Yu Xiaoquin frames Tao Lan for something she didn't do, a fight between the girls has tragic results, and Tao Lan is forced to pay the price. Released from prison 17 years later to spend the New Year with her family, the now-grown Tao Lan finds herself unable to cope with a much-changed outside world. She befriends a female prison guard when her family fails to pick her up, and the two embark upon a journey to reunite the prisoner with her estranged parents. Directed by the acclaimed sixth-generation Chinese auteur Zhang Yuan (EAST PALACE, WEST PALACE), SEVENTEEN YEARS is both a scathing indictment of the political and penal system in China, and a moving depiction of a poor family fraught by tragedy, circumstance, and violence.

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Movie buffs should be interested in this film, the last one for Valentino. The story is about a romance between a desert sheik and a dancing girl.

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Leo Tolstoy's epic drama involves a love-triange that defies social order when the married title character starts an illicit affair with a soldier. Separated from her son, and isolated from her upper-class peer group, Anna pays a high price for her infidelity in this 1967 Russian classic.

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Sense and sensibility are not the only things that meet and mix in this Bollywood adaptation of Austen's classic novel. When East meets West, and audiences meet the two charming sisters at the heart of it's tale, there is no end to the fun, adventure, and romance. Sowmya and Meenakshi have it all: looks, money, and youth. The only thing they lack is the true love they both yearn for. This situation is soon remedied when three suitors, each attractive in very different ways, are introduced into their lives. The level-headed Sowmya continues to put filial obligations ahead of romance, while the impetuous and passionate Meenakshi tries to figure out which one is her "white knight." While Sowmya is courted by a filmmaker who loves her but insists he must finish his first movie before they marry, Meenakshi must choose between a wounded soldier and a charismatic businessman with the heart of a poet. Ultimately, however, the increasing infirmity of the family patriarch may present the girls with some difficulties they are ill-prepared for. A brilliant widescreen extravaganza, I HAVE FOUND IT is the sophomore effort from director Rajiv Menon. It manages to successfully blend comedy, social satire, and familiar genre conceits into a stunning, dazzling musical spectacle that is a delight to behold.

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