Jan Hřebejk is a Czech film director. Born in Prague, Hřebejk graduated from high school in 1987 and continued his studies at the Film and TV School of the Academy of Performing Arts in Prague from 1987 to 1991, majoring in screenplay and dramaturgy, he was at FAMU alongside Petr Jarchovský his classmate from high school and subsequently a frequent collaborator as a screenwriter. While at FAMU, Hřebejk directed and produced two short films, Everything You Always Wanted to Know About Sex But Were Afraid to Experience and 1948 AD, from scripts written by his classmate Petr Zelenka, his professional directorial debut was a short film for Czech TV, You Do Nothing Because You've Got No Good Reason written by Zelenka. His films caught the attention of viewers and critics, entered student film festivals. While still at FAMU, Hřebejk and Jarchovský wrote a comedy screenplay inspired by Hřebejk's background at a pioneer summer camp, entitled Let's Sing A Song; this screenplay was filmed in 1990 as a full-length feature by director Ondřej Trojan and cameraman Asen Šopov.
In 1992 Hřebejk filmed a version of his FAMU graduate thesis, an interpretation of Egon Hostovský's The Charity Ball. This was followed by Big Beat, a rock and roll comedy set in the 1950s and Hřebejk's first major box-office success; the film was written by Jarchovský, based on a story by Petr Šabach, won four Czech Lion awards, including Best Film and Best Director for Hřebejk. In 1996 Hřebejk directed a children's TV series, Where Stars Fall, syndicated around Europe; the following year Hřebejk and Jarchovský won awards from the Film and Television Association and the Literary Fund for their contribution to dramatic television programming, for three episodes they wrote for the TV series Bachelors. The writing and production team behind Big Beat subsequently reunited for two further films, Cosy Dens and Divided We Fall, both of which became enormously successful within the Czech Republic, his 2009 film Kawasaki's Rose was selected as the Czech entry for the Best Foreign Language Film at the 83rd Academy Awards, but it didn't make the final shortlist.
Cinema Everything You Always Wanted to Know About Sex But Were Afraid to Experience - student movie 1948 AD - short movie Do Nothing Because You've Got No Good Reason - short movie Big Beat Czech Soda Cosy Dens Divided We Fall - 73rd Academy Awards nomination Pupendo Up and Down Beauty in Trouble Teddy Bear 2007 I'm All Good Shameless Kawasaki's Rose Innocence The Holy Quaternity Honeymoon Icing The Teacher Television The Charity Ball Czech Soda - show, TV-series GEN: The Gallery of the Nation's Elite - documentary Vladimír Jiránek by Jan Hřebejk GENUS - documentary Michal Viewegh by Jan Hřebejk Vladimír Mišík by Jan Hřebejk Dominik Hašek by Jan Hřebejk 60 - documentary How's the Living - short documentary, TV-series Where Stars Fall - TV series The Last Concert The Window - short The Good News Theater Tomorrow There Will Be... - opera Everything You Always Wanted to Know About Sex But Were Afraid to Experience - student movie Whisper as Woody Year of the Devil Amazing Rock'n'roll in the Czech Republic, or Go Jack, go as Himself The Operation Hockey as Himself The Greatest of the Czechs as předseda grantové komise The Freaky Years of the Czech Film - documentary, as Himself Let's Sing A Song - writer and narrator Jan Hrebejk on IMDb Interview with Jan Hřebejk at Eurochannel Šakalí léta at the Internet Movie Database Pelíšky at the Internet Movie Database Musíme si pomáhat at the Internet Movie Database Pupendo at the Internet Movie Database
Thessaloniki familiarly known as Thessalonica, Salonica or Salonika, is the second-largest city in Greece, with over 1 million inhabitants in its metropolitan area, the capital of Greek Macedonia, the administrative region of Central Macedonia and the Decentralized Administration of Macedonia and Thrace. Its nickname is η Συμπρωτεύουσα "the co-capital", a reference to its historical status as the Συμβασιλεύουσα or "co-reigning" city of the Eastern Roman Empire, alongside Constantinople. Thessaloniki is located at the northwest corner of the Aegean Sea, it is bounded on the west by the delta of the Axios/Vardar. The municipality of Thessaloniki, the historical center, had a population of 325,182 in 2011, while the Thessaloniki Urban Area had a population of 824,676 and the Thessaloniki Metropolitan Area had 1,030,338 inhabitants in 2011, it is Greece's second major economic, industrial and political centre. The city is renowned for its festivals and vibrant cultural life in general, is considered to be Greece's cultural capital.
Events such as the Thessaloniki International Fair and the Thessaloniki International Film Festival are held annually, while the city hosts the largest bi-annual meeting of the Greek diaspora. Thessaloniki was the 2014 European Youth Capital; the city of Thessaloniki was founded in 315 BC by Cassander of Macedon. An important metropolis by the Roman period, Thessaloniki was the second largest and wealthiest city of the Byzantine Empire, it was conquered by the Ottomans in 1430, passed from the Ottoman Empire to Greece on 8 November 1912. It is home to numerous notable Byzantine monuments, including the Paleochristian and Byzantine monuments of Thessaloniki, a UNESCO World Heritage Site, as well as several Roman and Sephardic Jewish structures; the city's main university, Aristotle University, is the largest in Greece and the Balkans. Thessaloniki is a popular tourist destination in Greece. In 2013, National Geographic Magazine included Thessaloniki in its top tourist destinations worldwide, while in 2014 Financial Times FDI magazine declared Thessaloniki as the best mid-sized European city of the future for human capital and lifestyle.
Among street photographers, the center of Thessaloniki is considered the most popular destination for street photography in Greece. The original name of the city was Θεσσαλονίκη Thessaloníkē, it was named after princess Thessalonike of Macedon, the half sister of Alexander the Great, whose name means "Thessalian victory", from Θεσσαλός'Thessalos', Νίκη'victory', honoring the Macedonian victory at the Battle of Crocus Field. Minor variants are found, including Θετταλονίκη Thettaloníkē, Θεσσαλονίκεια Thessaloníkeia, Θεσσαλονείκη Thessaloneíkē, Θεσσαλονικέων Thessalonikéōn; the name Σαλονίκη Saloníki is first attested in Greek in the Chronicle of the Morea, is common in folk songs, but it must have originated earlier, as al-Idrisi called it Salunik in the 12th century. It is the basis for the city's name in other languages: Солѹнь in Old Church Slavonic, סלוניקה in Ladino, Selânik سلانیك in Ottoman Turkish and Selanik in modern Turkish, Salonicco in Italian, Solun or Солун in the local and neighboring South Slavic languages, Салоники in Russian, Sãrunã in Aromanian, Salonica or Salonika in English.
Thessaloniki was revived as the city's official name in 1912, when it joined the Kingdom of Greece during the Balkan Wars. In local speech, the city's name is pronounced with a dark and deep L characteristic of Modern Macedonian accent; the name is abbreviated as Θεσ/νίκη. The city was founded around 315 BC by the King Cassander of Macedon, on or near the site of the ancient town of Therma and 26 other local villages, he named it after his wife Thessalonike, a half-sister of Alexander the Great and princess of Macedonia as daughter of Philip II. Under the kingdom of Macedonia the city retained its own autonomy and parliament and evolved to become the most important city in Macedonia. After the fall of the Kingdom of Macedonia in 168 BC, in 148 BC Thessalonica was made the capital of the Roman province of Macedonia. Thessalonica became a free city of the Roman Republic under Mark Antony in 41 BC, it grew to be an important trade-hub located on the Via Egnatia, the road connecting Dyrrhachium with Byzantium, which facilitated trade between Thessaloniki and great centers of commerce such as Rome and Byzantium.
Thessaloniki lay at the southern end of the main north-south route through the Balkans along the valleys of the Morava and Axios river valleys, thereby linking the Balkans with the rest of Greece. The city became the capital of one of the four Roman districts of Macedonia, it became the capital of all the Greek provinces of the Roman Empire because of the city's importance in the Balkan peninsula. At the time of the Roman Empire, about 50 A. D. Thessaloniki was one of the early centers of Christianity. Paul wrote two letters to the new church at Thessaloniki, preserved in the Biblical canon as First and Second Thessalonians; some scholars hold that the First Epistle to the Thessalonians is the first written book of the New Testament. In 306 AD, Thessaloniki acquired a patron saint, St. Demetrius, a Christian whom Galerius is said to have put to death. Most scholars
Abbas Kiarostami was an Iranian film director, poet and film producer. An active film-maker from 1970, Kiarostami had been involved in the production of over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy, Close-Up, The Wind Will Carry Us, Taste of Cherry, awarded the Palme d'Or at the Cannes Film Festival that year. In works, Certified Copy and Like Someone in Love, he filmed for the first time outside Iran: in Italy and Japan, respectively, his films have ranked among the greatest in the history of cinema. Notably, Close-Up was ranked among the 50 greatest movies of all time in the famous decennial Sight & Sound poll conducted in 2012. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material, he was a poet, painter and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid-Saless and Parviz Kimiavi.
These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues. Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, for conversations that unfold inside cars, using stationary mounted cameras, he is known for his use of Persian poetry in the dialogue and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, a mix of fictional and documentary elements; the concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. Kiarostami was born in Tehran, his first artistic experience was painting, which he continued into his late teens, winning a painting competition at the age of 18 shortly before he left home to study at the University of Tehran School of Fine Arts. He majored in painting and graphic design, supported his studies by working as a traffic policeman.
As a painter and illustrator, Kiarostami worked in advertising in the 1960s, designing posters and creating commercials. Between 1962 and 1966, he shot around 150 advertisements for Iranian television. In the late 1960s, he began illustrating children's books. In 1969, when the Iranian New Wave began with Dariush Mehrjui's film Gāv, Kiarostami helped set up a filmmaking department at the Institute for Intellectual Development of Children and Young Adults in Tehran, its debut production, Kiarostami's first film, was the twelve-minute The Bread and Alley, a neo-realistic short film about a schoolboy's confrontation with an aggressive dog. Breaktime followed in 1972; the department became one of Iran's most noted film studios, producing not only Kiarostami's films, but acclaimed Persian films such as The Runner and Bashu, the Little Stranger. In the 1970s, Kiarostami pursued an individualistic style of film making; when discussing his first film, he stated: Bread and Alley was my first experience in cinema and I must say a difficult one.
I had to work with a young child, a dog, an unprofessional crew except for the cinematographer, nagging and complaining all the time. Well, the cinematographer, in a sense, was right because I did not follow the conventions of film making that he had become accustomed to. Following The Experience, Kiarostami released The Traveler in 1974; the Traveler tells the story of Qassem Julayi, a troubled and troublesome boy from a small Iranian city. Intent on attending a football match in far-off Tehran, he scams his friends and neighbors to raise money, journeys to the stadium in time for the game, only to meet with an ironic twist of fate. In addressing the boy's determination to reach his goal, alongside his indifference to the effects of his amoral actions, the film examined human behavior and the balance of right and wrong, it furthered Kiarostami's reputation for realism, diegetic simplicity, stylistic complexity, as well as his fascination with physical and spiritual journeys. In 1975, Kiarostami directed Two Solutions for One Problem.
In early 1976, he released Colors, followed by the fifty-four-minute film A Wedding Suit, a story about three teenagers coming into conflict over a suit for a wedding. Kiarostami's first feature film was the 112-minute Report, it revolved around the life of a tax collector accused of accepting bribes. In 1979, he directed First Case, Second Case. In the early 1980s, Kiarostami directed several short films including Toothache, Orderly or Disorderly, The Chorus. In 1983, he directed Fellow Citizen, it was not until his release of Where Is the Friend's Home? that he began to gain recognition outside Iran. These films created the basis of his productions; the film tells a simple account of a conscientious eight-year-old schoolboy's quest to return his friend's notebook in a neighboring village lest his friend be expelled from school. The traditional beliefs of Iranian rural people are portrayed; the film has been noted for its poetic use of the Iranian rural landscape and its realism, both important elements of Kiarostami's work.
Kiarostami made the film from a child's point of view. Where Is
John Boorman, is an English filmmaker, best known for his feature films such as Point Blank, Hell in the Pacific, Zardoz, Exorcist II: The Heretic, The Emerald Forest and Glory, The General, The Tailor of Panama and Queen and Country. He has received five Academy Award nominations, twice for Best Director, he is credited with creating the first Academy Award screeners to promote The Emerald Forest. In 2004 Boorman received the BAFTA Fellowship for lifetime achievement from the British Academy of Film and Television Arts. Boorman was born in Shepperton, England, the son of Ivy and George Boorman, he was educated at the Salesian School in Surrey. Boorman first began by working as a journalist in the late 1950s, he ran the newsrooms at Southern Television in Southampton and Dover before moving into TV documentary filmmaking becoming the head of the BBC's Bristol-based Documentary Unit in 1962. Capturing the interest of producer David Deutsch, he was offered the chance to direct a film aimed at repeating the success of A Hard Day's Night: Catch Us If You Can is about competing pop group Dave Clark Five.
While not as successful commercially as Lester's film, it drew good reviews from distinguished critics such as Pauline Kael and Dilys Powell and smoothed Boorman's way into the film industry. Boorman was drawn to Hollywood for the opportunity to make larger-scale cinema and in Point Blank, based on a Richard Stark novel, brought a stranger's vision to the decaying fortress of Alcatraz and the proto-hippy world of west coast America. Lee Marvin gave the then-unknown director his full support, telling MGM he deferred all his approvals on the project to Boorman. After Point Blank, Boorman re-teamed with Lee Marvin and Toshiro Mifune for the robinsonade of Hell in the Pacific, which tells a fable story of two representative soldiers stranded together on an island. Returning to the United Kingdom, he made Leo the Last; this film exhibited the influence of Federico Fellini and starred Fellini regular Marcello Mastroianni, won him a Best Director award at Cannes. Boorman achieved much greater resonance with Deliverance, the ordeal of four urban men, played by Jon Voight, Burt Reynolds, Ronny Cox and Ned Beatty, who encounter danger from an unexpected quarter while whitewater rafting through the Appalachian backwoods.
The film became Boorman's first true box office success. At the beginning of the 1970s, Boorman was planning to film The Lord of the Rings and corresponded about his plans with the author, J. R. R. Tolkien; the production proved too costly, though some elements and themes can be seen in Excalibur. A wide variety of films followed. Zardoz, starring Sean Connery, was a post-apocalyptic science fiction piece, set in the 23rd century. According to the director's film commentary, the "Zardoz world" was on a collision course with an "effete" eternal society, which it accomplished, in the story must reconcile with a more natural human nature. Boorman was selected as director for Exorcist II: The Heretic, a move that surprised the industry given his dislike of the original film. Boorman declared: "Not only did I not want to do the original film, I told the head of Warner Brothers John Calley I'd be happy if he didn't produce the film too." The original script by Broadway playwright William Goodhart was intellectual and ambitious, based around the metaphysical nature of the battle between good and evil, the writings of Catholic theologian Pierre Teilhard De Chardin, "I found It compelling.
It was based on Chardin's intoxicating Idea that biological evolution was the first step In God's plan, starting with inert rock, culminating In humankind." Despite Boorman's continued rewriting throughout shooting, the film was rendered incomprehensible. The film, released in June 1977, was a critical and box office disaster. Boorman was denounced by author William Peter Blatty, the author of the original novel The Exorcist, William Friedkin, director of the first Exorcist film. Boorman admitted that his approach to the film was a mistake; the Heretic is considered not just the worst film of The Exorcist series, but one of the worst films of all time. Excalibur, a long-held dream project of Boorman's, is a retelling of the Arthurian legend, based on Le Morte D'Arthur. Boorman cast actors Nicol Williamson and Helen Mirren against their protests, as the two disliked each other intensely, but Boorman felt their mutual antagonism would enhance their characterizations of the characters they were playing.
The production was based in the Republic of Ireland. For the film he employed all of his children as actors and crew and several of Boorman's films have been'family business' productions; the film, one of the first to be produced by Orion Films, was a moderate success. Hope and Glory is his most autobiographical movie to date, a retelling of his childhood in London during The Blitz. Produced by Goldcrest Films, with Hollywood financing the film, it proved a box office hit in the US, receiving numerous Oscar, BAFTA and Golden Globe nominations. However, his 1990 US-produced comedy about a dysfunctional family, Where the Heart Is, was a major flop; the Emerald Forest saw Boorman cast his actor son Charley Boorman as an eco-warrior, in a rainforest adventure that included commercially required elements – action and near-nudity – with authentic anthropological detail. Rospo Pallenberg's original screenplay was adapte
Krzysztof Kieślowski was a Polish film director and screenwriter. He is known internationally for Dekalog, The Double Life of Veronique, the Three Colors trilogy. Kieślowski received numerous awards during his career, including the Cannes Film Festival Jury Prize, FIPRESCI Prize, Prize of the Ecumenical Jury. In 1995, he received Academy Award nominations for Best Best Writing. In 2002, Kieślowski was listed at number two on the British Film Institute's Sight & Sound list of the top ten film directors of "modern times". Kieślowski was born in Warsaw, the son of Barbara and Roman Kieślowski, he grew up in several small towns, moving wherever his engineer father, a tuberculosis patient, could find treatment. He was raised Roman Catholic and retained what he called a "personal and private" relationship with God. At sixteen, he dropped out after three months. Without any career goals, he entered the College for Theatre Technicians in Warsaw in 1957 because it was run by a relative, he wanted to become a theatre director, but lacked the required bachelor's degree for the theatre department, so he chose to study film as an intermediate step.
Leaving college and working as a theatrical tailor, Kieślowski applied to the Łódź Film School, which has Roman Polanski and Andrzej Wajda among its alumni. He was rejected twice. To avoid compulsory military service during this time, he became an art student, went on a drastic diet to make himself medically unfit for service. After several months of avoiding the draft, he was accepted to the school on his third attempt, he attended Łódź Film School from 1964 to 1968, a period with a high degree of artistic freedom. Kieślowski decided to make documentary films. Kieślowski's early documentaries focused on the everyday lives of city dwellers and soldiers. Though he was not an overtly political filmmaker, he soon found that attempting to depict Polish life brought him into conflict with the authorities, his television film Workers'71, which showed workers discussing the reasons for the mass strikes of 1970, was only shown in a drastically censored form. After Workers'71, he turned his eye on the authorities themselves in Curriculum Vitae, a film that combined documentary footage of Politburo meetings with a fictional story about a man under scrutiny by the officials.
Though Kieślowski believed the film's message was anti-authoritarian, he was criticized by his colleagues for cooperating with the government in its production. Kieślowski said that he abandoned documentary filmmaking due to two experiences: the censorship of Workers'71, which caused him to doubt whether truth could be told under an authoritarian regime, an incident during the filming of Station in which some of his footage was nearly used as evidence in a criminal case, he decided that fiction not only allowed more artistic freedom, but could portray everyday life more truthfully. His first non-documentary feature, was made for television and won him first prize at the Mannheim Film Festival. Both Personnel and his next feature, The Scar, were works of social realism with large casts: Personnel was about technicians working on a stage production, based on his early college experience, The Scar showed the upheaval of a small town by a poorly-planned industrial project; these films were shot in a documentary style with many nonprofessional actors.
Camera Buff and Blind Chance continued along similar lines, but focused more on the ethical choices faced by a single character rather than a community. During this period, Kieślowski was considered part of a loose movement with other Polish directors of the time, including Janusz Kijowski, Andrzej Wajda, Agnieszka Holland, called the Cinema of Moral Anxiety, his links with these directors, Holland in particular, caused concern within the Polish government, each of his early films was subjected to censorship and enforced re-shooting/re-editing, if not banned outright. For example, Blind Chance was not released domestically until 1987 six years after it had been completed. No End was his most political film, depicting political trials in Poland during martial law, from the unusual point of view of a lawyer's ghost and his widow, it was harshly criticized by dissidents. Starting with No End, Kieślowski collaborated with two people, the composer Zbigniew Preisner and the trial lawyer Krzysztof Piesiewicz, whom Kieślowski met while researching political trials under martial law for a planned documentary on the subject.
Piesiewicz co-wrote the screenplays for all of Kieślowski's subsequent films. Preisner provided the musical score for No End and most subsequent of Kieślowski's films and plays a prominent part. Many of Preisner's pieces are referred to and discussed by the films' characters as being the work of the Dutch composer "Van den Budenmayer". Dekalog, a series of ten short films set in a Warsaw tower block, each nominally based on one of the Ten Commandments, was created for Polish television with funding from West Germany. C
Theodoros "Theo" Angelopoulos was a Greek filmmaker and film producer. An acclaimed and multi-awarded film director who dominated the Greek art film industry from 1975 on, Angelopoulos was one of the most influential and respected filmmakers in the world, he started making films in 1967. In the 1970s he made a series of political films about modern Greece. Angelopoulos' work, described by Martin Scorsese as that of "a masterful filmmaker", is characterized by slightest movement, slightest change in distance, long takes, complex yet composed scenes. Theodoros Angelopoulos was born in Athens on 27 April 1935. During the Greek Civil War, his father was taken hostage and returned when Angelopoulos was 9 years old, he studied law at the National and Kapodistrian University of Athens, but after his military service went to Paris to attend the Sorbonne. He soon dropped out to study film at the Institut des hautes études cinématographiques before returning to Greece. There, he worked as a film critic. Angelopoulos began making films after the 1967 coup that began the Greek military dictatorship known as the Regime of the Colonels.
He made his first short film in 1968 and in the 1970s he began making a series of political feature films about modern Greece: Days of'36, The Travelling Players and The Hunters. In 1978, he was a member of the jury at the 28th Berlin International Film Festival, he established a characteristic style, marked by slow and ambiguous narrative structures as well as long takes. These takes include meticulously choreographed and complicated scenes involving many actors, his regular collaborators include the cinematographer Giorgos Arvanitis, the screenwriter Tonino Guerra and the composer Eleni Karaindrou. One of the recurring themes of his work is immigration, the flight from homeland and the return, as well as the history of 20th century Greece. Angelopoulos was considered by British film critics Derek Malcolm and David Thomson as one of the world's greatest directors. While critics have speculated on how he developed his style, Angelopoulos made clear in one interview that "The only specific influences I acknowledge are Orson Welles for his use of plan-sequence and deep focus, Mizoguchi, for his use of time and off-camera space."Angelopoulos was awarded honorary doctorates by the Université libre de Bruxelles, Belgium in 1995, by Paris West University Nanterre La Défense, France, by the University of Essex, UK in July 2001, by the University of Western Macedonia, Greece in December 2008, by the University of the Aegean, Greece in December 2009.
Angelopoulos died late on Tuesday, 24 January 2012, several hours after being involved in an accident while shooting his latest film, The Other Sea in Athens. The filmmaker had been with his crew in the area of Drapetsona, near Piraeus when he was hit by a motorcycle driven by an off-duty police officer, on Tuesday evening; the accident occurred when 76, attempted to cross a busy road. He was taken to the hospital, where he was treated in an intensive care unit but succumbed to his serious injuries several hours later. Before passing away, Angelopoulos suffered at least one heart attack. Angelopoulos won numerous awards, including the Palme d'Or at the 51st edition of the Cannes Film Festival in 1998 for Eternity and a Day, his films have been shown at the most important film festivals around the world. Theodoros Angelopoulos was the recipient of many awards for his long standing career. Books Journals and web Official website Acquarello. "Great Directors: Theo Angelopoulos". Senses of Cinema. Archived from the original on 29 May 2010.
Theo Angelopoulos on IMDb Theo Angelopoulos in musicolog
Arturo Ripstein y Rosen is a Mexican film director. Ripstein got his break into movies working as an uncredited assistant director for Luis Buñuel. In 1965, he directed his first feature, Tiempo de morir. Written by Carlos Fuentes and Gabriel García Márquez, it began a tradition of making independent films written by high-profile Latin-American authors, his 1981 film Seduction was entered into the 12th Moscow International Film Festival. His 1989 film Love Lies was entered into the 16th Moscow International Film Festival. In 1997, Ripstein won the National Prize of Arts and Sciences, the second filmmaker after Buñuel to do so; some of Ripstein's films the earlier ones, "highlighted characters beset by futile compulsions to escape destinies". Many of his films are shot in tawdry interiors, with bleak brown color schemes, seedy pathetic characters who manage to achieve a hint of pathos and dignity. Así es la vida, according to Jonathan Crow, "boldly reworks the ancient Greek drama Medea, employing a dizzying array of flashbacks and Brechtian devices".
Deep Crimson, according to the New York Times, is "a ferociously anti-romantic portrait of an obese nurse and a seedy small-time gigolo whose bungling scheme to swindle a succession of lonely women out of their life savings turns into a killing spree." Tiempo de morir The Castle of Purity The Holy Office Foxtrot La viuda negra The Place Without Limits La tía Alejandra Seduction Rastro de muerte El imperio de la fortuna Mentiras piadosas Simplemente María TV Woman of the Port The Beginning and the End The Queen of the Night Deep Crimson El evangelio de las maravillas No One Writes to the Colonel Such Is Life La perdición de los hombres The Virgin of Lust El carnaval de Sodoma Las razones del corazón Bleak Street Arturo Ripstein on IMDb Harvard Film Archive: Revelations of a Fallen World - The Cinema of Arturo Ripstein