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PORN THEATER, as its title suggests, covers a day in the life of a Parisian pornographic cinema, foregrounding its marginalized male patrons and their activities inside. Because the film cuts between only three locations--the ticket area, the main viewing theater, and the grungy, yellow bathroom--it effectively seals off the world outside, providing the viewer with a heightened sense of containment. An extraordinary amount of screentime is given to the spectators in the theater simply watching the film, the effect of which is almost Hitchcockean in the sense of cinematic double entendre--as one watches the characters in the movie viewing a movie, one becomes conscious of the architecture of the theater, the mechanics of film projection, and the other viewers. When PORN THEATER draws to a close, then, it is no surprise the pornographic film the characters watch also comes to conclusion, and everyone must leave their respective theaters more or less together. The film additionally makes comment on disease and desire and provides comic relief, though mostly at the expense of one hirsute drag queen. As one might also expect from the title, the film carries a ton of sexual content, though only between the male patrons of the theater, unsure as to whether they've come to reinforce their heterosexual desires through the movie or to cruise the other customers for homosexual encounters.

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UN DIA SIN SEXO is a day in the life of four Peruvian couples of varying ages and backgrounds as they struggle over issues between the sheets. This is a lighthearted comic look at the pitfalls of sex in relationships, whether the couples are young and hot to trot, or a little bit older and less full of fire. Either way, these lovers find themselves in all sorts of hilarious scenarios that speak to the voyeurs among us.

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Spanish actress turned director Laura Mana delivers an enchanting fable, by turns funny and achingly poignant, and seasoned with a bit of magical realism. Opening in black-and-white and set in a dull, drab Mexican town, the inhabitants of the film are beset by a bad case of the doldrums: the kids are taciturn, the adults are listless, and the elderly are afflicted. Among them, Dolores (Elisabeth Margoni, LOVE, ACTUALLY) stands out as a pious, big-hearted, and lovable woman, but her husband leaves her because he finds her undiluted goodness difficult to stomach. Shocked, hurt and angry, Dolores goes to bed with the first man who asks her, and soon she is providing all of the love-starved men of the town with the intimacy they have been missing. The changes are immeasurable and color is brought back into the lives of all the villagers, until problems arise in the form of the local prostitutes whose business has been hurt. Dolores's husband also returns and demands a stop to her behavior, forcing Delores to make a difficult decision. Mana delivers a beautiful, life-affirming, feminist take on the conservative mores of small-town life.

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Tony Jaa follows in the powerful martial arts footsteps of Bruce Lee, Jackie Chan, and Jet Li in ONG-BAK: THE THAI WARRIOR, one of the first films to center on the ancient fighting system of Muay Thai, which utilizes the body's limbs to potentially devastating effect. Jaa stars as Ting, a quiet young man who lives in the peaceful village of Nong Pradu. As the village's special celebration approaches, a Bangkok villain named Don (Wannakit Siriput) steals the head of the Buddha statue Ong-Bak, which is said to protect the village from bad luck. Ting volunteers to go to the big city to bring back the head of Ong-Bak, but remembers what he was taught by sage monk Pra Cru (Woranard Tantipidok): he must not use his Muay Thai skills to harm people. However soon after arriving in Bangkok, Ting, a peaceful fish out of water, finds that the only way to recapture the village's sacred treasure is by using his arms, his legs--and his head. Influenced by the films of Thai action star Phanna Rithikrai, director Prachya Pinkaew hired the Muay Thai expert to serve as martial arts and stunt choreographer for ONG-BAK, resulting in highly effective and believable scenes between Ting and a multitude of criminals and evil boxers out to get him. Pinkaew adds a fun sense of humor to the serious story, not only in some of the crazy stunts but also in the character of George, played by Thai comic Petchthai Wongkamlao. Jaa is charmingly fearless in the lead role, performing all his own stunts without any special effects, computer enhancement, or ropes.

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In this Mexican comedy classic, Tin-Tan and El Zorrillo are the same person and Lupe has fallen in love with the latter. But when Don Martin and his workers are jailed by the evil Don Gaspar, it's up to El Zorrillo to save the day.

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A well-crafted horror film in the tradition of Guillermo del Toro's THE DEVIL'S BACKBONE, Swedish import LET THE RIGHT ONE IN ably blends genre chills with genuine feeling. Oskar (Kåre Hedebrant) is a 12-year-old outcast who is frequently picked on by his classmates. He dreams of getting his revenge, but he never stands up to the boys. With the arrival of his new next-door neighbor, 12-year-old Eli (Lina Leandersson), Oskar may finally have found a friend, ally, and first love. But Eli is no ordinary girl: she must keep her pale skin out of the sunlight, she can perform inhuman physical feats, and she has thirst for blood. The bodies begin to pile up, but Oskar can't stay away from the girl who has finally given him courage. Based on the novel by John Ajvide Linqvist (who also wrote the script), LET THE RIGHT ONE IN is the best kind of horror film: one that transcends the tropes of the genre to become something new. This is director Tomas Alfredson's first foray into horror, and he doesn't hesitate to include bits of vampire mythology. But his background making comedies and dramas gives the film a surprising depth; the relationship between Oskar and Eli is tentative and sweet, even though their interactions may be surrounded by blood and violence. Composer Johan Soderqvist and the sound department create a fascinating palette of music and sounds that add to the film's perfectly chilly mood, and setting the film in a snowy Swedish suburb gives director of photography Hoyte Van Hoytema a starkly beautiful environment for shooting. Though LET THE RIGHT ONE IN is ostensibly about a pair of children, this is a horror film for adults. There are plenty of scares, but it remains moving and intelligent, a rare feat for the genre.

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$7
 

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A Polish film set amid the ravages of World War II, PORNOGRAFIA follows two middle-aged men as they pontificate and speculate on the future of their country. Although the battle comes perilously close, the two men prefer to ignore it, and instead focus their lusty attentions on a nearby farmer's daughter.

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A lusty school headmaster, joined by his perverted nephews, recruits 12 female teachers to become their sex slaves. Whether the women will comply willingly remains to be seen!

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THE SISSI COLLECTION includes the trilogy of romantic films about the Austrian princess: SISSI, THE YOUNG EMPRESS, and SISSI: THE FATEFUL YEARS OF THE EMPRESS. The three movies follow the adventures of Sissi and her husband Kaiser Franz Josef (Karl Heinz Böhm). Romy Schneider (WHAT'S NEW PUSSYCAT, TRIPLE CROSS), stars as the young princess, who has to endure the frustrations of court life in Vienna and a difficult mother-in-law. This popular series of costume dramas was directed by Ernst Marischka (SEASON IN SALZBURG), and this collection also includes two of his other movies, THE STORY OF VICKI and FOREVER MY LOVE.

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AMOR REAL is a moving tale of two lovers attempting to straddle their disparate backgrounds. Set in the 19th century, it follows the fortunes of a female aristocrat and a poverty-stricken soldier as they fall head-over-heels in love with each other. But the meddling mother of the aristocrat tries to interfere and marry her offspring off to someone with money, causing huge problems for the couple. The story careers to a fateful ending as marriage plans are drawn up against the wishes of the two lovers, resulting in a dramatic, action-packed conclusion to the movie.

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Loosely based on the classic WEST SIDE STORY, JOSH tells the tale of two rival gangs, one led by Prakash (Sharad Kapoor), and the other by Max (Shah Rukh Khan). When Prakash's twin brother (Chandrachur Singh) returns to town, his newfound love for Max's sister, Shirley (Aishwarya Rai), threatens to upset the tenuous peace between the gangs.

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For over three generations, El Chavo del 8 has charmed Spanish-speaking audiences the world over with its wildly zany appeal. A Mexican television landmark still on syndication to this very day, the series is a winning formula of slapstick comedy and social commentary that is reminiscent of The Little Rascals. El Chavo is an eight-year-old (played by a full-grown adult male) who practically lives inside a barrel in the courtyard of a community filled with loony but memorable characters. This first volume of THE BEST OF EL CHAVO DEL 8 compiles some of the series' best loved moments from its 30-year history.

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Two young Indians, a brother and sister, travel from their remote Guatemalan village to the "promised land" of the north--Los Angeles. Academy Award Nominations: Best (Original) Screenplay.

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$25
 

starting at

$14
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A well-crafted horror film in the tradition of Guillermo del Toro's THE DEVIL'S BACKBONE, Swedish import LET THE RIGHT ONE IN ably blends genre chills with genuine feeling. Oskar (Kåre Hedebrant) is a 12-year-old outcast who is frequently picked on by his classmates. He dreams of getting his revenge, but he never stands up to the boys. With the arrival of his new next-door neighbor, 12-year-old Eli (Lina Leandersson), Oskar may finally have found a friend, ally, and first love. But Eli is no ordinary girl: she must keep her pale skin out of the sunlight, she can perform inhuman physical feats, and she has thirst for blood. The bodies begin to pile up, but Oskar can't stay away from the girl who has finally given him courage. Based on the novel by John Ajvide Linqvist (who also wrote the script), LET THE RIGHT ONE IN is the best kind of horror film: one that transcends the tropes of the genre to become something new. This is director Tomas Alfredson's first foray into horror, and he doesn't hesitate to include bits of vampire mythology. But his background making comedies and dramas gives the film a surprising depth; the relationship between Oskar and Eli is tentative and sweet, even though their interactions may be surrounded by blood and violence. Composer Johan Soderqvist and the sound department create a fascinating palette of music and sounds that add to the film's perfectly chilly mood, and setting the film in a snowy Swedish suburb gives director of photography Hoyte Van Hoytema a starkly beautiful environment for shooting. Though LET THE RIGHT ONE IN is ostensibly about a pair of children, this is a horror film for adults. There are plenty of scares, but it remains moving and intelligent, a rare feat for the genre.

starting at

$14
 

starting at

$5
  • product
Amélie Poulain (Audrey Tautou) is a young woman who glides through the streets of Paris as quietly as a mouse. With wide eyes and a tiny grin, she sees the world in a magical light, discovering minor miracles every day. A shy and reserved person whose favorite moments are spent alone skimming stones into the water, Amélie was raised by a pair of eccentrics who falsely diagnosed her with a heart problem at the age of six and so limited her exposure to the outside world. Now a free and independent woman, Amélie wears a bob that curls in every direction and dresses in red. With a job in a café and an aptitude for spying on her neighbors, Amélie entertains herself by enacting a series of homemade, kindhearted practical jokes. She returns a long-forgotten box of childhood knickknacks to its proper owner, she sends her father's garden troll on a trip around the world, and she creates a love connection at the café between the hypochondriac druggist and a beer-drinking old grouch. But when the day is done, Amélie finds one stone unturned, and decides to work her magic on the quirky object of her affections, Nino Quincampoix (Matthieu Kassovitz), whom she has never met. Director Jean-Pierre Jeunet (who codirected DELICATESSEN and THE CITY OF LOST CHILDREN with Marc Caro) presents AMÉLIE, an aesthetically gorgeous and inventive film. The rich, glowing color scheme is offset by flashbacks in black and white archival footage that give short biographies of each character. A soft-spoken narrator guides viewers through this enlightening fairy tale, which sometimes speeds through the streets and other times drifts in slow motion. AMÉLIE is humorous, questioning, and strange, and it will change the lives of all who watch it, if only for a short while after leaving Amélie's world.

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Acclaimed Japanese director Hayao Miyazaki adapts British writer Diana Wynne Jones's popular fantasy tale for this animated feature, adding his own unique and celebrated dreamlike spin. A young hat-maker named Sophie (voiced by Emily Mortimer) is turned into an old woman by the dreaded Witch of the Waste (Lauren Bacall) when she attracts the notice of Howl (Christian Bale), a young wizard whom the witch desires for herself. As the old woman, (voiced by Jean Simmons), Sophie finds refuge as a cleaning lady in Howl's magical castle, an impressively realized mishmash of anthropomorphic shafts and gears, where she meets, among other wonders, a cantankerous fire demon named Calcifer (Billy Crystal). Howl's courage inspires her to seek a cure for her curse, and vice versa, and the two work together to prevent a major war as the castle roams the countryside on its mechanical legs. There's lots of magic afoot as well, including travel through barriers of space and time, and shape-shifting, requiring full viewer attention to keep track of who, where, and when, but this how dreams really are and the film engages on that same subconscious level. As with Miyazaki's previous work (SPIRITED AWAY, KIKI'S DELIVERY SERVICE), the emphasis here is on creating a beautiful alternate reality, where anything can happen, and every frame is a breathtaking work of art. See it on the big screen if the chance presents itself; the elaborate intricacies and patiently realized alternate realities of Miyazaki's work makes him a true treasure.

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Written and directed by Guillermo del Toro, PAN'S LABYRINTH is a thrilling, violent fairy tale set in post-Civil War Spain. Ivana Baquero stars as Ofelia, a young girl who moves with her mother, Carmen (Ariadna Gil), into the home of Captain Vidal (Sergi López), in an abandoned mill in the middle of dark, dangerous woods. Vidal is leading his team of soldiers against resistance fighters--and he will do whatever is necessary to kill every last one of them. As Vidal bosses around the pregnant Carmen, a flying creature leads Ofelia through a garden labyrinth and into an underground cave ruled by Pan (HELLBOY's Doug Jones), who believes that Ofelia might be the lost princess of this strange yet magical place. To prove she is royalty, Ofelia must complete three tasks, each more difficult and terrifying than the previous one. Meanwhile, Vidal is becoming more and more paranoid, torturing and murdering seemingly at will. Del Toro (THE DEVIL'S BACKBONE, HELLBOY, CRONOS) creates a marvelous battle between good and evil, between heroes and villains, in both the real world aboveground and the mystical land below. Baquero gives a compelling performance as the terrorized Ofelia, who is befriended by Mercedes (Maribel Verdú), a woman who harbors some secrets of her own. Stellar production design, superb special effects, and a stirring score by Javier Navarrete add to the scary fun. Selected as the closing-night entry in the 2006 New York Film Festival, PAN'S LABYRINTH is a captivating story that is not for the squeamish.

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Bollywood and Hollywood entwine for this mix of romance, singing, comedy, dancing, and melodrama, directed by Sanjay Leela Bhansali (DEVDAS) and produced in tandem with Sony/Columbia. The achingly beautiful Rani Mukherjee narrates and appears as Gulab, a streetcorner princess haunting the red light district in an expressionistic melange of Venice, Vegas, and Amsterdam. The irrepressibly callow musician Raj (Ranbir Kapoor) catches her eye, but Raj thinks he's in love with Sakina (Sonam Kapoor) who prefers to pine away for her absent lover, Imaan (Salman Kahn). All this longing (it's based on Dostoyevsky's WHITE NIGHTS) is stunningly captured through bizarre and elaborate backdrops, winding staircases, torrents of rain, and a color scheme heavy on the blues. Fans of Baz Luhrman's MOULIN ROUGE will want to live inside this film: there may not a whole lot of weight to all the tomfoolery, but the pain of youthful romantic idealism is part of the message. The music is always the thing with Bollywood films and SAAWARIYA packs in its share of rousing numbers. Western viewers entering the realm of Bollywood for the first time will find SAAWARIYA ("beloved" in Hindi) to be a crossover film that's ready to welcome them with open arms into a jubilant world of high-spirited song and dance, over-the-top goofiness, anguished melodrama, gyrating hips (with very sexy exposed belly buttons), and PG-rated romance.

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REBELDE is a Mexican telenovela based in a school for the country's richest kids. But among the elite are a few children from poorer families whose natural gifts in a number of different fields have allowed them entrance to this exclusive institution. When these two markedly different groups meet, the poverty-stricken kids are tormented by their wealthy counterparts, and some explosive action follows. This release presents the series' second season.

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Foreign DVDs & Videos calling your name? Find all of the top DVDs & Video gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Foreign DVDs & Videos and other DVDs & Videos. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Porn Theater [DVD] - Un Dia Sin Sexo [DVD].