Borders.com in Foreign DVDs & Videos

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AN ORPHAN ON THE STREETS: An orphan resorts to unusual tactics to find someone to look after him--by attaching a "for sale" sign to his body--in this feature film from 1949. THE WATCH: A poor young boy named Calf steals a watch and has to face some dire consequences for his actions in THE WATCH.

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The first part of a trilogy, NIGHT WATCH is an old-fashioned good vs. evil parable that relies on some thoroughly modern special effects to ensnare its audience. Set in present-day Moscow, the movie begins with a quick skip back through the centuries to inform us how a delicate truce was struck between the forces of Light and Dark. These forces still exist in Moscow, with both sides keeping a close eye on each other as they attempt to disguise themselves from the earth's mere mortals. NIGHT WATCH's central character is Anton Gorodetsky (Konstantin Khabensky), who is defined as an "Other" by the legions of Light and Dark. Anton and his cohorts live as vampires, and await the arrival of a virgin who will announce the resumption of hostilities between the forces of Light and Dark; as the film progresses, it becomes apparent that an epic battle is just around the corner. One of the biggest films of all time in its native Russia, director Timur Bekmambetov's NIGHT WATCH positions itself somewhere in between THE MATRIX and BLADE in the pantheon of CGI-fueled sci-fi flicks. Although the plot is mind-boggling and occasionally verges on the incomprehensible, Bekmambetov is presumably using this first part of the trilogy to lure viewers into his wild cinematic world. Impressively, Bekmambetov's film was shot on a tiny budget, but it belies its meager origins. Even the English subtitles are integrated into several scenes, with words zipping across the screen and melting into the action as a heavy-metal soundtrack thumps away. Knowing he is set to film two sequels, Bekmambetov leaves his audience hanging as NIGHT WATCH nears its climax, with his second installment (DAY WATCH) promising further FX-laden feuding, and, in an intriguing twist, an English-language climax to the trilogy with DUSK WATCH.

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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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$10
 

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$6
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The first part of a trilogy, NIGHT WATCH is an old-fashioned good vs. evil parable that relies on some thoroughly modern special effects to ensnare its audience. Set in present-day Moscow, the movie begins with a quick skip back through the centuries to inform us how a delicate truce was struck between the forces of Light and Dark. These forces still exist in Moscow, with both sides keeping a close eye on each other as they attempt to disguise themselves from the earth's mere mortals. NIGHT WATCH's central character is Anton Gorodetsky (Konstantin Khabensky), who is defined as an "Other" by the legions of Light and Dark. Anton and his cohorts live as vampires, and await the arrival of a virgin who will announce the resumption of hostilities between the forces of Light and Dark; as the film progresses, it becomes apparent that an epic battle is just around the corner. One of the biggest films of all time in its native Russia, director Timur Bekmambetov's NIGHT WATCH positions itself somewhere in between THE MATRIX and BLADE in the pantheon of CGI-fueled sci-fi flicks. Although the plot is mind-boggling and occasionally verges on the incomprehensible, Bekmambetov is presumably using this first part of the trilogy to lure viewers into his wild cinematic world. Impressively, Bekmambetov's film was shot on a tiny budget, but it belies its meager origins. Even the English subtitles are integrated into several scenes, with words zipping across the screen and melting into the action as a heavy-metal soundtrack thumps away. Knowing he is set to film two sequels, Bekmambetov leaves his audience hanging as NIGHT WATCH nears its climax, with his second installment (DAY WATCH) promising further FX-laden feuding, and, in an intriguing twist, an English-language climax to the trilogy with DUSK WATCH.

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$6
 

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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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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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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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$14
 

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Ricardo (Marco Filiberti) is the son of an affluent Italian upper-crust family; he is also, unbeknownst to them, a very popular and flamboyant gay porn star who goes by the name of Riki Kandinsky. When he is forced to attend his father's funeral, he causes waves with his perfect hair and mascara. He endeavors to keep his identity from those in attendance, and is for the most part successful However, when his brother Federico visits Riki's Rome apartment to work out the details of the will, as well as to reconnect with his estranged brother, things take a decidedly different turn. Riki is forced to confess his lifestyle to his brother, and Federico is at first shocked, but moves on to acceptance. The two rekindle their relationship when Federico helps Riki adopt a young boy who has recently come into his life.

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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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A frank, graphic erotic drama about a very proper Provincial society wife who rejects the limitations of her social role and instigates an affair with an earthy lower-class man. Special Jury Prize, Venice Film Festival.

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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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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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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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A hit across the globe, bachata boy-band Aventura leave their adoring fans breathless in this sold-out concert at New York's Madison Square Garden. Joined onstage by a dazzling array of surprise guests--including Miri Ben-Ari, Olga Tanon, El Torito, Toby Love, and Anthony Santos--this live performance features knockout renditions of the songs "Obsesion," "No no no," "Ella y yo," and "Noche de sexo," among many others.

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A police officer loses his colleague in an intense operation to bump off a gangster kingpin, leading to a botched operation, and a killer on the lose. After ten years pass, the deceased officer's kids grow up, and decide to take on the task of seeking vengeance for their father.

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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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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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CUATRO NOCHES CON TIGO: When Rafael and Elsa arrive in Mexico City they are running from the misfortune that has blighted their lives. Fortunately they discover one another, and begin a rocky affair that is tainted by Elsa's father, who is trying to force her to marry a man she doesn't love. UNA AVENTURA EN LA NOCHE: A mystery unravels as two young men enjoy brief romances with two women who they then discover had officially died years before.

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$4
 

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$17
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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

$17
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