Laserdisc in Foreign DVDs & Videos

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Murmur of the Heart

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While convalescing at a health retreat, a sensitive and sexually curious teenage boy explores his identity, with a little help from his doting mother. The tender direction belies the film's provocative sexual themes, which caused it to be almost banned in France upon its release.

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In his final collaboration with Akira Kurosawa, Toshirô Mifune portrays Dr. Kyojio "Red Beard" Niide, a gruff but caring head doctor at a 19th-century clinic for the poor. Sorely in need of competent assistance, Red Beard takes on a new intern, the ambitious Noboru Yasumoto (Yuzo Kayama). However, Yasumoto isn't made aware of his appointment until after he's visited the facility and seen its grim conditions and impoverished patients. Initially, the brash young physician rebels against the wise elder and declines his duties, but gradually Yasumoto begins to respect Red Beard and his difficult yet essential work. As Yasumoto slowly acclimates to the clinic, the story also follows the lives (and deaths) of various patients. Truly the end of an era, RED BEARD marks the dissolution of the Kurosawa/Mifune partnership and also Kurosawa's last black-and-white production. Although surprisingly little has been written about the rift between Mifune and Kurosawa, it's likely that tensions were largely due to the film's grueling two-year shoot. Despite the drama behind the camera, RED BEARD remains one of Kurosawa's underrated classics. Although Mifune is best known for his earlier roles as an impetuous youth, here he gives a mature, though no less vital, performance, echoing the mentor character Takashi Shimura played in STRAY DOG, SEVEN SAMURAI, and other Kurosawa movies. (However, Mifune does get one action-packed, YOJIMBO-worthy fight scene.) In turn, Kayama admirably fills the role of the headstrong young intern. A sort of period-piece MASH or ER, RED BEARD is a moving drama that uses doctors and patients to address the timeless notion of trying to be a good person in an often cruel world.

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Three young women move to Moscow from the country in search of love and a better life. One finds a proper, but dull husband. The other lands a famous hockey player, but ends up disappointed in him. The third becomes pregnant by a television cameraman who promptly leaves her upon hearing the news. Twenty years later the women are still living in Moscow, having learned how to cope with the reality of their respective situations. Winner of the 1980 Academy Award for Best Foreign Film.

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Cria Cuervos [DVD]

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After doing several films with screenwriter Rafael Azcona (GARDEN OF DELIGHTS, MY COUSIN AGNELICA) Carlos Saura made CRIA! from his own script. He continued using actors in dual roles, allowing for easily shifting time frames and multiple points of view. In a dreamy opening scene, Ana (Ana Torrent), a wide-eyed child of about ten, comes down the stairs and sees a half-dressed woman run from her father's room. She quietly and without emotion goes into the room where her father lies dead on the bed and removes a half-full glass of milk. In the kitchen, as she washes out the glass, her mother (Geraldine Chaplin) enters and scolds her for being up so late. But her Mother, we learn later, died earlier, and Ana blamed her father for it and put poison in his milk. When Ana is alone her mother appears to her again, but this time she looks right in the camera and explains that she's Ana, now age 29. Some of what came before was a flashback from her adult perspective. With Chaplin playing both parts, the film shifts between the story of Ana and her mother, and Ana's life as an adult, until what actually happened the night her father died is completely revealed. CRIA! is the most complex and ambitious of the many films that Saura and Chaplin made together.

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This Academy Award-winner for Best Foreign Language Film was a big art house hit, spawning a whole international subgenre, "foodie" (films about the liberating effects of good food). It's adapted from a story by Isak Dinesen about two sisters in a 19th century Calvinist settlement in Denmark who, under their late father's rigorous spiritual dictates, pass up their chances for romance and worldly success. Years pass; they grow into charitable old spinsters and one day a French war refugee, Babette (Stéphane Audran), comes to work for them. Life goes quietly one for years until one day Babette decides to prepare a lavish gourmet dinner for the elders of the town, even though the thought of such decadence makes the sisters fear for their Christian souls. This all may sound rather dull to some viewers, but rest assured, no one who has seen this film has ever regretted it. Even with its measured pacing and austere emotional palette this remains a riveting experience from the first frame to the last. The acting is marvelously naturalistic, and the cinematography evokes the dark beauty of 19th century Scandinavian paintings, rendering the ancient, white-whiskered faces of the villagers, the windswept coastline, the wood-hewn interiors, and of course the incredible food, with a vital, deeply felt reverence that lingers in the mind long after the film is over.

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When an oddball pair of Russian soldiers are captured and taken prisoner by a Chechen father hoping to barter them for the release of his captive son, the two disparate hostages begin to develop an unexpected--and frequently humorous--bond of friendship. Inspired by the Leo Tolstoy novella "A Prisoner of the Caucasus." Academy Award Nomination: Best Foreign Language Film.

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Das Boot - The Director's Cut

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In the midst of World War II, as the tide turns against the Axis, a German U-boat crew is sent out to patrol the Atlantic and fire at Allied ships bringing supplies to England. The submarine also carries a press correspondent, there to report from the front lines of nautical warfare. Meanwhile, the crew's captain (Jürgen Prochnow) is becoming disillusioned with the Nazi regime and with war in general. What starts out as a routine mission is soon livened up beyond the crew's expectations when their boat's surprise attack on a convoy is thwarted by a fast-moving destroyer. Battered by depth charges, the crew must pull together to survive the attacks of their unseen enemy. Widely considered to be director Wolfgang Petersen's best film and one of the finest German films ever made, DAS BOOT is stunningly realistic in its portrayal of the cramped conditions aboard a German submarine. Based on a novel by Lothar G. Buchheim, it is a striking example of an intelligent antiwar film clothed in the guise of a military thriller.

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Like Water for Chocolate [DVD]

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A sensuous comic fable of a young Mexican woman's tortured life and her main influences--her domineering mother, her forbidden lover, and the overwhelmingly sensual power of food and cooking. Based on the novel by Laura Esquivel.

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In this dazzling epic from Akira Kurosawa, a petty thief named Kagemusha (Tatsuya Nakadai) gets saved from a death sentence because he resembles the warlord Shingen Takeda (also Nakadai). The warlord has been fighting two other leaders for control of 16th-century Japan and impersonators often take his place during battles to put him out of harm's way. Because of Kagemusha's strong physical similarities to the warlord, he's a perfect choice for a "shadow warrior." However, the arrangement suddenly changes when Shingen gets fatally wounded while watching a battle. Adhering to Shingen's final wish, the warlord's men keep the death a secret, and Kagemusha struggles to transform himself from a criminal into a leader. KAGEMUSHA marked a welcome return for the legendary director, who had not made a movie since 1974. Nakadai, a supporting player in earlier Kurosawa films, expertly portrays the leading role(s), almost always filled in the past by Toshirô Mifune. KAGEMUSHA also features the final screen appearance of longtime Kurosawa actor, Takashi Shimura. In order to help the film get an international release, Francis Ford Coppola and George Lucas served as executive producers.

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A lyrical interpretation of war, as seen through the eyes of a young soldier granted a temporary furlough to visit his mother. Academy Award Nominations: Best (Original) Story and Screenplay.

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The sky over Wenders's war-scarred Berlin is full of gentle angels wearing trench coats who listen to the tortured thoughts of mortals and try to comfort them. One wishes to become mortal after falling in love with a beautiful trapeze artist. Peter Falk, as himself, assists in the transformation by explaining the simple joys of a human experience, such as the sublime combination of coffee and cigarettes. The result is a film that is simultaneously sentimental and cerebral.

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Set in 16th Century Japan, Akira Kurosawa's epic SEVEN SAMURAI follows the plight of a defenseless farming village that lives in constant fear of marauding bandits. The farmers know that when their crops are harvested, the thugs will attack, so four men go to town in hopes of employing samurai to fight for them. However, the poor villagers can merely offer payment in the form of shelter and a daily bowl of rice, and initially only Kambei (Takashi Shimura), a brave elder samurai, and his eager young apprentice, Katsushiro (Isao Kimura), take up their cause. Encountering various nomadic warriors on the streets, they slowly put together his team of swordsmen, recruiting Shichiroji (Daisuke Katô), Gorobei (Yoshio Inaba), Heihachi (Minoru Chiaki), and Kyuzo (Seiji Miyaguchi). Finally, Kikuchiyo (Toshirô Mifune), a scruffy wanderer who has been trailing them, completes the small band of ronin. However, upon reaching the village, the samurai learn that the farmers fear them as much the enemy. Despite the tensions, Kambei and his men slowly train the peasants to defend their village. Eventually the warriors launch a preemptive strike against the bandits, and begin a series of intense conflicts that culminates in a rain-soaked final battle--without a doubt, one of the most stunning sequences in cinema history. Widely considered to be the greatest Japanese film ever made, Kurosawa's SEVEN SAMURAI is also credited with pioneering the modern action movie. This notion is especially evident in thrilling scenes such as Kambei's rescue of a kidnapped child, Kyuzo's duel, and Kikuchiyo's intensive theft of an enemy gun. Although the film clocks in at more than three hours, the story remains consistently engaging and slowly heightens the tension while providing action, drama, comic relief, and character development. Gleefully running amuck, Mifune gives one of his most renowned performances, imbuing the often comical Kikuchiyo with a surprising streak of melancholy and introspection. However, it is Shimura that anchors the entire film as the thoughtful and courageous Kambei, who stoically takes on the leadership of an almost impossible task. A monumental achievement in filmmaking, Kurosawa's SEVEN SAMURAI is cinematic perfection in nearly every aspect, giving the production its much-deserved status as one of the best films ever created.

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Filmed during the German occupation, this French milestone centers around the theatrical life of a beautiful courtesan and the four men who love her. Voted the "Best French Film in History" by the French Film Academy in 1990. Academy Award Nominations: Best Original Screenplay.

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Dolce Vita

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In Federico Fellini's seminal film LA DOLCE VITA, a three-hour masterpiece that shows one man's descent into "the sweet life" of debauchery, Marcello Mastroianni stars as eccentric journalist Marcello Rubini. On assignment to chronicle the lives of the rich and famous Italian aristocracy in a gossip column for a Roman newspaper, Marcello floats from one fabulous party to the next, meeting all varieties of beautiful, extravagant people. While he would never protest this seemingly ideal job, it makes him feel lonely and empty, and he stays up drinking and dancing night after night only to wake up each morning unbalanced and unfocused. The film follows Marcello's ups and downs in an episodic pattern in which each evening is a new story, a new adventure, a new dare, a new woman with whom to fall helplessly in love--but only for that night. Each morning the slate is wiped clean, and Fellini resets Marcello's score to zero. Sprinkled with religious images and gestures at salvation, LA DOLCE VITA is supreme in the beauty of its all-encompassing symbolism that is expressed through lavish sets, an alluring script, overemphasized physical movements, roller-coaster jazz music, and helpless emotions.

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L'Age D'Or [DVD]

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Luis Buñuel's second film is a surreal attack on bourgeios ideals that incited a riot when first released and still retains its power to shock. Buñuel began the film as a collaboration with Salvador Dali, but after a few days working together the two had a falling out and Buñuel made the film himself, incorporating many of Dali's ideas. Its narrative follows two nameless characters, a man and a woman, through a series of scenes connected by dreamlike logic as they try, unsuccessfully, to make love. One memorable sequence finds the couple writhing around on a cliff when a mob of socialites comes upon them and pries them apart. Frustrated, the man sees a yelping poodle and kicks it into the air. L'AGE D'OR is not only an attack on bourgeois life but also a doctrine that directs humanity to live as the surrealists believed they should: that is, by placing love before everything else in life, such as the church, status, and family. Funny, disturbing, and thoroughly bizarre, Buñuel's film is a purposefully blasphemous and corrosive work that attacks social institutions with such vigor and imagination that one cannot help but be entertained.

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Cabiria [DVD]

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During the war between Carthage and Rome, a girl is separated from her parents. In her odyssey through the world of ancient Rome, she encounters an erupting volcano, the barbaric splendor of Carthage, human sacrifice and Hannibal crossing the Alps. Silent film with piano score.

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In this silent, classic example of early German expressionism, this cinematic landmark relates the stylized tale of a Dr. Caligari, a fairground showman who hypnotizes an innocent villager--turning him into a sleepwalking "zombie"--and compels him to carry out fiendish murders. Inarguably a landmark in world cinema, Robert Weine's one-of-a-kind thriller features fantastical, heavily stylized sets, antirealist acting, and evocative subjective camerawork.

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Life and Nothing But [DVD]

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Two women of differing backgrounds are looking for the missing men they love in the aftermath of World War I. Along the way they encounter two French officers, one detailed to identify the dead and the other assigned to choose a body to be honored as France's unknown soldier.

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The final collaboration, following PANDORA'S BOX, between G.W. Pabst and Louise Brooks, the American silent film star whose look defined the Jazz Age, DIARY OF A LOST GIRL is a similarly lurid tale of a young woman's life. Brooks stars as Thymiane, a young girl life whose life collapses when she is raped and made pregnant by her father's young assistant. After a reform school escape she ends up in a brothel, which, ironically, leads her to a salvation of sorts. Silent film with piano and jazz ensemble score.

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Wedding in Galilee [DVD]

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In one of the first films made in Israel to present an Arab perspective, Michel Khleifi's WEDDING IN GALILEE provides a complex portrait of Palestinian society and commentary on life under military occupation. When a Palestinian village elder requests permission to hold a traditional wedding for his son, the military commander in charge of the occupying force requires that the Israeli military governor and his staff be guests of honor at the ceremony. The ensuing preparations detail traditional Palestinian life and customs, including a moving sequence in which attendants prepare the bride for the ceremony. Despite the impending celebration, tensions bubble under the surface, and Khleifi deftly examines the conflict and its impact on individual lives.

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