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Ivan’s Childhood, released in 1962, was Soviet director's Andrei Tarkovsky first feature film. An adaptation of a short story by Vladimir Bogomolov set in World War II, its protagonist is a 12-year-old orphan (Nikolai Burlyaev) on the Eastern Front whose small size allows him to scout German positions undetected. Ivan's missions have been useful to the army, but officers Lt. Col. Gryaznov (Nikolai Grinko), Capt. Kholin (Valentin Zubkov) and Lt. Galtsev (Evgeny Zharikov) would like very much to send him to a military academy to get him away from the front, especially as the final offensive against the Germans is imminent. The action in the film plays out between two of Ivan's ventures across the river Dniepr into German-held territory. It depicts the difficult life of the soldiers at the front and the destruction that war brought to the Soviet village whose damaged buildings now host the army. Ivan's back story is revealed elliptically through comments among the soldiers, dream sequences or flashbacks. A subplot involves Kholin's disturbing attempts to seduce Nurse Masha (Valentina Malyavina) and, in stark contrast to earlier Soviet treatments of the war, suggest that in wartime one's own fellow soldiers can just as dangerous as the enemy. As far as Tarkovsky films go, Ivan’s Childhood is still an immature work. You'll find nothing of the slow, almost ritualistic pacing that marks his later films, and this comes in at a compact 90 minutes. Still, a few shots (tracking shots of a wall, Ivan flipping through a book of religious art) seem like mature Tarkovsky in embryo, and the prominent use of religious iconography (crosses, fresco) is already here. Vadim Yusov's cinematography is memorable, with its several "layers" of view in certain shots, and the prominent framing of shots with broken timber beams that seem to hinder the characters. I was however very disappointed that at the end, the film segues into basically a Soviet anti-German propaganda film, complete with archival footage of the Soviet capture of Berlin. It is like some completely different filmmaker took over.
Various lives converge on an isolated island, all connected by an author whose novel has become inextricably entwined with his own life.
Directly based upon the infamous Houston Mass Murders, the film centers around Elmer Wayne Henley's life before, during, and immediately after his involvement with Dean Corll and David Brooks, and their killing spree of over 28 victims from 1970 to 1973.
In 1940, author Richard Wright turns to Pulitzer Prize-winning playwright Paul Green to help adapt his best-selling book, Native Son, into a Broadway play. Days from opening night, they differ over a single page of the script.
Film about the Holocaust. A Jewish family is allowed to keep the flat they have always lived in and to live a relatively normal life. One day their 10-year old son disappears. He has been sent to a deportation camp which seems like paradise except that the inmates are being used for medical experiments.
A weathered Sheriff returns to the remains of an accident he has spent a lifetime trying to forget. With each step forward, the memories come flooding back. Faced with his mistake once again, he must find the strength to carry on.
Edward Wilson, the only witness to his father's suicide and member of the Skull and Bones Society while a student at Yale, is a morally upright young man who values honor and discretion, qualities that help him to be recruited for a career in the newly founded OSS. His dedication to his work does not come without a price though, leading him to sacrifice his ideals and eventually his family.
The story of the battle of Iwo Jima between the United States and Imperial Japan during World War II, as told from the perspective of the Japanese who fought it.
In order to check the German offensive, Partizans send an elite team of explosive experts to blow up a strategically important bridge. Besides being heavily guarded, that bridge is almost indestructible and the only man who knows weak spots in the construction is the architect who built it. He is, however, reluctant to cooperate because he doesn't want to see his masterpiece destroyed.
A neo-nazi sentenced to community service at a church clashes with the blindly devotional priest.
Many years after a devastating accident that took the life of his only son and permanently injured his wife, Joe finally comes home and tries to redeem himself.
An 18 year old girl called Joy has gone missing. Another girl called Helen is a few weeks away from leaving her care home. Helen is asked to 'play' Joy in a police reconstruction that will retrace Joy's last known movements. Joy had everything. A loving family, a boyfriend, a bright future. Helen, parent-less, has lived in institutions all her life and has never been close to anyone. Gradually Helen begins to immerse herself into the role, visiting the people and places that Joy knew; quietly and carefully insinuating her way into the lost girl's life. But is Helen trying to find out what happened to Joy that day, or is she searching for her own identity?