New Wave Films
from only £3
Back in by popular demand, our stores offer a great selection of their films, from £3 for a limited time, check out some of our favourites below…
5 Broken Cameras
Filmed from the perspective of a Palestinian farm laborer (Emad Burnat), 5 Broken Cameras was shot using six different video cameras – five of which were destroyed in the process of documenting Emad’s family’s life as well as Palestinian and International resistance to Israeli appropriation of land and occupation.
Emad, who lives in Bil’in, just west of the city of Ramallah in the West Bank, was thrust into global politics when his community peacefully resisted Israeli plans to erect a wall through their land to separate them from the ever growing Israeli settlements. Initially given the camera to chronicle the birth and childhood of his son Gibreel, the film captures Gibreel growing into a precocious preschooler against the backdrop of the many non-violent protests that have become an intrinsic part of life in Bil’in.
With hundreds of hours of video footage covering a period of over six years, Emad started working with Israeli activist and filmmaker Guy Davidi to produce a film. Guy helped shape the material and compose a commentary for the film. Together, they have turned 5 Broken Cameras into a larger-than-life lyrical device that both informs and structures their personal and collective struggles in the West Bank.
An extraordinary work of both cinematic and political activism, 5 Broken Cameras daringly meshes personal essay with political cinema, displaying how images and cameras can change lives and realities.
Conspirators Of Pleasure
Six characters pursue solitary pleasures…
Mr Pivoňka builds a chicken costume and throws rocks at an effigy of his neighbour, Mrs Loubalová. She humiliates an effigy of him (their fevered imaginations bringing the effigies to jerkily animated life). Meanwhile, the local postwoman rolls pieces of bread up into small balls, which she sucks up her nose and ears.
Mr Beltinsky constructs various objects based on the general theme of rolling pins covered in intriguing textures with which to stroke himself, and his newsreader wife reads the news while having her toes sucked by two giant carp. The newsagent, obsessed with Mrs Beltinsky, builds an extension to his television that will embrace him when she appears on screen.
Death Of Louis XIV
August 1715. After going for a walk, Louis XIV feels a pain in his leg. The next days, the king keeps fulfilling his duties and obligations, but his sleep is troubled and he has a serious fever. He barely eats and weakens increasingly. This is the start of the slow agony of the greatest King of France from gangrene, surrounded by his doctors and closest advisors, speaking in frantic, whispered tones about their options, in an era in which little is known of such illnesses.
Albert Serra’s new film, The Death of Louis XIV, is an adaptation of the Duc de Saint-Simon’s memoirs, starring Jean-Pierre Léaud as the Sun-King. The cult actor, who worked with all major directors from the Nouvelle Vague after being discovered in Truffaut’s The 400 Blows, plays the dying king who can barely move from his bed in the Château de Versailles.
His relatives and his closest counsellors come in turns at his bedside, but he attends only a few meetings and can barely rule his kingdom. His secret wife Madame de Maintenon, and his doctor Fagon dread his last breath and try to hide it from the public, to preserve the future of France. Shot in rich colour with extraordinary lighting, Jean-Pierre Léaud, in his costume, hair and poses, fully embodies the last few days of the longest serving king of France, who, with his seventy two years in power, changed the face of the monarchy and of France.
Elena and Vladimir come from very different backgrounds. Vladimir is a wealthy, cold man, while Elena comes from a modest background, serving as his docile wife. The two of them have met late in life, each with a child from a previous marriage.
Vladimir has a distant relationship with his daughter. In contrast, Elena desperately tries to save her alcoholic son and his family from poverty with means she alone could not provide. When her husband Vladimir has a heart attack, he suddenly realizes his time on earth is limited. A tender but brief reunion with his daughter leads him to name her as the sole heir to his fortune.
When Vladimir announces this change to Elena, her hope to help her son quickly vanishes. Submissive housewife Elena then comes up with a plan to provide her son and his family with a real change in life.
Güeros is a road movie in which the travellers barely manage to leave town. A coming of age comedy which pays homage to the French new wave. Being a somewhat unusual film, Güeros begins with a rather different kind of explosion: a water bomb bursts in a baby stroller. It is thrown by teenager Tomás from a block of flats.
Since the lad is clearly too much of a handful for his mother, she packs him off to stay with his big brother who is studying in Mexico City. It’s 1999. Fede, also known to his friends as Sombra, lives with Santos in a concrete pre-fab. They are currently striking against the strike which their fellow-students are organising at the Universidad Nacional Autónoma de México. Tomás has brought a cassette along with him; the tape is part of his father’s legacy and contains the music of Epigmenio Cruz. They say his songs moved Bob Dylan to tears, and that he could have saved Mexico’s rock music scene from ruin.
When the trio learns that their idol is in hospital fading fast and alone, they set off in their rusty heap of a car to pay their last respects to this one-time rock star. What they thought would be a simple trip to find their childhood idol, soon becomes a voyage of self-discovery across Mexico City’s invisible frontiers.
How I Ended The Summer
A polar station on a desolate island in the Arctic Ocean – Sergei, a seasoned meteorologist, and Pavel, a recent college graduate, are spending months in complete isolation on the once strategic research base. Pavel receives an important radio message and is still trying to find the right moment to tell Sergei, but his innate fear of the older man prevents him passing on the message.
From this deception, lies and suspicions start poisoning the atmosphere that leads to a suspense-filled climax . The actors Sergei Puskepalis and Grigory Dobrygin were jointly awarded the Best Actor Prize in this year’s Berlin Film Festival for their performances as two men forced to carve out a relationship of trust and, ultimately, forgiveness in the desolate Russian Arctic.
How I Ended This Summer (Kak Ya Provel Etim Letom – Как я провел этим летом) is a visually stunning existentialist drama of survival, entirely filmed on location at one of the remotest and bleakest places in the world.
The film is loosely based on two short stories by Edgar Allen Poe and inspired by the works of the Marquis de Sade.
In nineteenth-century France (albeit one full of deliberate anachronisms) a young man, Jean Berlot, is plagued by nightmares in which he is dragged off to a madhouse. On the journey back from his mother’s funeral he is invited by a Marquis he meets at lunch to spend the night in his castle. There Berlot witnesses a blasphemous orgy and a ‘therapeutic’ funeral.
Berlot tries to flee but the Marquis insists on helping him conquer his fears and takes his guest to a nearby lunatic asylum where the patients have complete freedom and the staff are locked up behind bars. Described by Svankmajer as a “philosophical horror film,” Lunacy combines live action and stop-motion, sex and violence, grand guignol terror and gallows humour, and a lot of animated meat.
Once Upon A Time In Anatolia
The director of Uzak and Three Monkeys, Nuri Bilge Ceylan, has established himself as one of the new masters of cinema.
With his new film Once Upon a Time in Anatolia, he offers us an epic and rigorous tale of a night and day in a murder investigation. Once Upon a Time in Anatolia is a beautifully photographed crime drama about police and prosecutors grimly locating a buried body through one long night in the Anatolian steppes.
As the corpse is exhumed, many long-buried thoughts and fears are disinterred in the minds of the hard-bitten lawmen
Eoghan is a sound recordist who is returning to Ireland for the first time in 15 years, for a job capturing noises in areas free from man-made sound. His quest takes him to remote terrain, away from towns and villages.
Throughout his journey, he is drawn into a series of encounters and conversations which gradually divert his attention towards a more intangible silence, bound up with the sounds of the life he had left behind. Influenced by elements of folklore and archive,Silence unfolds with a quiet intensity, where poetic images reveal an absorbing meditation on themes relating to sound and silence, history, memory and exile.
Kore-eda’s great new film is what the Japanese call a “home drama”. It chronicles a 24-hour reunion of the Yokoyama family; the two adult children and their families are visiting their elderly parents to mark the fifteenth anniversary of the death of their elder brother, who died rescuing a drowning boy. There are no ‘dramatic’ incidents and the tone is generally light and humorous. But during the day and night we see all that unites and divides this particular family – and makes it just like any other.
The stern patriarch, a retired physician, still mourns his favourite son and intended heir, and doesn’t hide his disapproval of his surviving son and daughter. The mother lets slip the odd remark which betrays the frustrations and disappointments of her marriage; it’s her favourite 1960s pop song which gives the film its title.
The central character is the younger son Ryota, a forty-something picture restorer who has only just got married, an adult who has never quite grown up or felt at home in the family. In its unassertive way, this feels as piercingly true as some of the great “home dramas” of the past – such as Ozu’s.
After Our Beloved Month of August, Miguel Gomes returns with Tabu, an engaging, provocative and poetic film set both in Portugal and in an un-named African location.
Bearing the same title as F. W. Murnau’s classic Tabu (1931), shot in black and white and taking place at least partly in a distant land, Gomes’ third feature film is divided in two distinctive yet complementary storylines. Whilst the first part, shot in 35mm and in the present time, portrays a society wallowing in nostalgia, the second part, shot in 16mm, goes back in time and plays with history, sound, the concept of linear narration, as well as the ideas of melodrama, slapstick, passion and tragedy.
Both parts feature Aurora at two different stages of her life: an older Aurora regrets a past long gone while a younger Aurora dreams of a more passionate life. A virtuoso film, Tabu also offers a reflection on Europe’s colonial past.
The Palme d’Or winner from Nuri Bilge Ceylan is set in the hilly landscape of Cappadocia in Central Anatolia, where the local celebrity, a former actor Aydin (Haluk Bilginer), owns a small hotel cut into the hillside.
It’s now winter and the off-season. Aydin runs the hotel with his younger wife Nihal (Melisa Sözen), writes a column for the local newspaper, and is playing with the idea of producing a book on Turkish theatre.
He has also inherited local properties from his father, but leaves the business of rent collection to his agent. When a local boy, resentful of his father’s humiliation at the hands of the agent, throws a stone at a jeep whilst Aydin and his agent are driving in it, Aydin ducks out of any responsibility or involvement.
As the film progresses, the cocoon in which the self-satisfied and insular man has wrapped himself is gradually unravelled . In a series of magnificent set pieces, the film takes a close look at Aydin’s interactions with his wife, his recently divorced sister, and the family of the stone-throwing boy.
Aydin is finally brought face-to-face with who and what he truly is.
Also in the offer
35 Shots Of Rum: Subtitled/French
An Episode In The Life Of An Iron Picker: Subtitled/Bosnian
Arabian Nights: Volume 1 -3: Subtitled/Portuguese
Aurora: Language Romanian: English Sub
Blockade, Landscape, Revue: 3films By Sergei Loznitsa
Caesar Must Die: Subtitled/Italian
Cemetery Of Splendour: Subtitled/Thai
Christmas Tale: Subtitled/French
Closed Curtain: Subtitled/Persian
Eccentricities Of A Blonde Haired Girl
Fidelio: Alices Journey: Subtitled/French
Headless Woman: Subtitled/Argentinian
Hors Satan: Subtitled/French
In The Fog
Joy Of Man Desiring: Subtitled/French
Le Quattro Volte: Subtitled/Italian
Like Someone In Love: Subtitled/Japanese
Measure Of A Man: Subtitled/French
Mysteries Of Lisbon: Subtitled/Portugese
Norte: End Of History: Subtitled/Filipino
Nostalgia For The Light
Ptit Quinquin: Subtitled/French
Quiet Chaos: Subtitled/Italian
School Of Babel: Subtitled/French
Silence Of Lorna: Subtitled/French
Slack Bay: Subtitled/French
Stray Dogs: Subtitled/Mandarin
Surviving Life: Subtitled/Czech
Taxi Tehran: Subtitled/Persian
Three Films By Jean Marie Straub & Daniele Huillet (3)
Three Monkeys: Subtitled/Turkish
Time That Remains: Subtitled/Hebrew
Two In The Wave
Uncle Boonmee Who Can Recall His Past Lives: Subtitled/Thai
When I Saw You: Subtitled/Arabic
Wild Grass: Subtitled/French
Winter Of Discontent: Subtitled/Arabic