#Hook and Ladder Compay 1

[larryshapiro]

Hook and Ladder Company No. 1, Baldwin, NY

[nahuelkatz]

Un Chien Andalou

Un Chien Andalou (French pronunciation: ​[œ̃ ʃjɛ̃ ɑ̃dalu], An Andalusian Dog) is a 1929 Franco-Spanish silent surrealist short film by Spanish director Luis Buñuel and artist Salvador Dalí. It was Buñuel's first film and was initially released in 1929 with a limited showing at Studio des Ursulines in Paris, became popular and ran for eight months.[1]

Un Chien Andalou has no plot in the conventional sense of the word. The chronology of the film is disjointed, jumping from the initial "once upon a time" to "eight years later" without the events or characters changing. It uses dream logic in narrative flow that can be described in terms of then-popular Freudian free association, presenting a series of tenuously related scenes.

The film opens with a title card reading "Once upon a time". A middle-aged man (Luis Buñuel) sharpens his razor at his balcony door and tests the razor on his thumb. He then opens the door, and idly fingers the razor while gazing at the moon, about to be engulfed by a thin cloud, from his balcony. There is a cut to a close-up of a young woman (Simone Mareuil) being held by the man. She calmly stares straight ahead as he brings the razor near her eye. Another cut occurs to the moon being overcome by the cloud, then a cut to a close up of a hand slitting the eye of an animal with the razor (which happens so quickly the viewer may believe it was the woman's eye), and the vitreous humour spills out from it.

Rapado

Rapado is an Argentine and Dutch 1992 film, written and directed by Martín Rejtman, his first feature film.[1]

The film tells the story of a teenager whose motorcycle, money and sneakers are stolen. He wants to steal another motorcycle before the end of the night.

The Lobster

The Lobster is a 2015 absurdist dystopian black comedy film directed, co-written, and co-produced by Yorgos Lanthimos, co-produced by Ceci Dempsy, Ed Guiney, and Lee Magiday, and co-written by Efthimis Filippou.[6][7][8] In the film's setting, single people are given 45 days to find a romantic partner or otherwise be turned into animals.[9] It stars Colin Farrell as a newly single man trying to find someone so he can remain human, and Rachel Weisz as a woman who is also looking for a relationship, so they attempt to form one together. The film is a co-production by Ireland, the United Kingdom, Greece, France, and the Netherlands.

It was selected to compete for the Palme d'Or at the 2015 Cannes Film Festival and won the Jury Prize. It was shown in the Special Presentations section of the 2015 Toronto International Film Festival.[10] The film was nominated for Best Original Screenplay at the 89th Academy Awards and for Outstanding British Film at the 69th British Academy Film Awards.

David is escorted to a hotel after his wife has left him for another man. The hotel manager reveals that single people have 45 days to find a partner, or they will be transformed into an animal of their choice; the dog accompanying David is his brother. David chooses to become a lobster, because of their life cycle and his love of the sea. David makes acquaintances with Robert, a man with a lisp, and John, a man with a limp, who become his quasi-friends. John explains that he was injured in an attempt to reconnect with his mother, who had been transformed into a wolf.

The Headless Woman

The Headless Woman  (Spanish: La mujer sin cabeza / La mujer rubia) is a 2008 Argentine psychological thriller art film[5][6][7] written and directed by Lucrecia Martel and starring María Onetto. The plot revolves around Vero (short for Verónica) (Onetto), who hits something while driving on a deserted road near Salta. Not being sure if she has hit a person or an animal, she drives off, and becomes increasingly mentally disturbed.

The film premiered in competition at the 2008 Cannes Film Festival on May 21, 2008.[8] It opened nationwide on August 21, 2008, after being screened at the Locarno International Film Festival earlier that month. While The Headless Woman was mostly lauded by critics for its cinematography and social commentary, others were critical towards the film's slow pace and lack of clear narrative.[9][10] In 2016, the film was ranked No. 89th on BBC's list of the 100 greatest films of the 21st century.[11]

This film is centered around Vero (Onetto), an Argentinean bourgeois woman, and how her life slowly twists out of control after she mistakenly believes she struck and killed a dark-skinned servant's child with her car. As Vero is driving, she is distracted by her cell phone and, as she looks down to answer it, her car hits something. She peers in the rear-view mirror, collects herself, and drives away. A non-point-of-view shot of Vero driving away from the scene shows a dog lying dead on the ground.

Fine Powder

Fine Powder (Spanish: Picado fino) is a 1996 Argentine drama film, written and directed by Esteban Sapir. The picture features Facundo Luengo, Belén Blanco, Marcela Guerty, among others.[1]

The film tells of Thomas (Facundo Luengo) a Jewish grown man who lives with his grandmother in the industrial section of a large Argentine city. His life isn't going exactly as planned. To make matters worse, when he needs to make some money, he hooks up with a drug dealer.

Lost Highway 

Lost Highway is a 1997 neo-noir film directed by David Lynch and co-written by Lynch and Barry Gifford. It stars Bill Pullman, Patricia Arquette, Balthazar Getty, and Robert Blake. The film follows a musician (Pullman) who begins receiving mysterious VHS tapes of him and his wife (Arquette) in their home, and who is suddenly convicted of murder.

Lost Highway was financed by the French production compay Ciby 2000 and was largely shot in Los Angeles, where Lynch collaborated with frequent producer Mary Sweeney and cinematographer Peter Deming. Lynch has described the film as a "psychogenic fugue" rather than a conventionally logical story, while the film's surreal narrative structure has been likened to a Möbius strip.

One day, Fred Madison, a Los Angeles saxophonist, receives a message on the intercom of his house: "Dick Laurent is dead." The next morning, his wife Renee finds a VHS tape on their porch containing a video of their house. After having sex, Fred sees Renee's face as that of a pale old man, then tells her he had a dream about someone resembling her being attacked. As the days pass, more tapes arrive, showing shots of them asleep in their bed. 

Lion's Den

Lion's Den (Spanish: Leonera) is a 2008 Argentine drama film directed, co-written, co-produced and co-edited by Pablo Trapero. Addressing motherhood within the prison system, it stars Martina Gusmán, Elli Medeiros and Rodrigo Santoro. The film competed in the Competition at the 2008 Cannes Film Festival.

It was Argentina's official submission for the 2009 Academy Award for Best Foreign Language Film.

Julia, a 25 year-old university student, two weeks pregnant, with no criminal record, is sent to prison. Julia murdered the father of her child. This story addresses maternity, jail and Justice; confinement, guilt and solitude; but above all it deals with Julia and her son, Tomas, born inside an Argentinean prison.

Bicycle Thieves (Italian: Ladri di biciclette; sometimes known in the United States as The Bicycle Thief)[4] is a 1948 Italian neorealist drama film directed by Vittorio De Sica. It follows the story of a poor father searching post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family.

Adapted for the screen by Cesare Zavattini from a novel by Luigi Bartolini, and starring Lamberto Maggiorani as the desperate father and Enzo Staiola as his plucky young son, Bicycle Thieves received an Academy Honorary Award (most outstanding foreign language film) in 1950 and, in 1952 was deemed the greatest film of all time by Sight & Sound magazine's poll of filmmakers and critics;[5] fifty years later another poll organized by the same magazine ranked it sixth among the greatest-ever films.[6]

In the post-World War II Val Melaina neighbourhood of Rome, Antonio Ricci (Lamberto Maggiorani) is desperate for work to support his wife Maria (Lianella Carell), his son Bruno (Enzo Staiola) and his small baby. He is offered a job of pasting advertising bills but tells Maria that he cannot accept because the job requires a bicycle. Maria resolutely strips the bed of her dowry bedsheets‍—‌prized possessions for a poor family‍—‌and takes them to the pawn shop, where they bring enough to redeem Antonio's pawned bicycle. On his first day of work, Antonio is atop a ladder when a young man (Vittorio Antonucci) snatches the bicycle.

Pizza, Beer, and Cigarettes (Spanish: Pizza, birra, faso), is a 1998 Argentine drama film, co-directed and co-written by Israel Adrián Caetano and Bruno Stagnaro. It's also known as: Pizza, Beer & Smokes. The drama features Héctor Anglada, Jorge Sesan, Pamela Jordán, and others.[2] Pizza, Beer, and Cigarettes is the film that's known as "the spark that ignited the New Argentine Cinema when it premiered at the international Mar del Plata Film Festival."[3]

The motion picture was filmed entirely in Buenos Aires, Argentina.

This story takes place in an impoverished district outside Buenos Aires. It tells about a corrupt group of teenage misfits: the not-so-bright Megabom (Alejandro Pous), the asthmatic Pablo (Jorge Sesan), the nerdy Frula (Walter Diaz), and Sandra (Pamela Jordan), the pregnant girlfriend of El Cordobes (Héctor Anglada). All are squatters living together in the same house. The group wanders the city and steal in order to survive. After letting go of their former employer, a crooked taxi driver who paid them a cut of what they could steal from his passengers, Pablo and Cordobes steal from a crippled street vendor.

Paulina (Spanish: La patota) is a 2015 internationally co-produced thriller film directed by Santiago Mitre. It was screened in the International Critics' Week section at the 2015 Cannes Film Festival[2] where it won the Nespresso Grand Prize and the FIPRESCI Prize.[3][4] It is inspired by the 1960 film La patota.[1]

Paulina is a young lawyer with a promising career in Buenos Aires, who chooses to go back to her home town. Her father, Fernando, is a well known judge. Against his will, Paulina decides to teach in a suburban high school as part of an inclusion program. One night, after the second week working there, she’s brutally raped by a gang. With the disapproval of the people around her, she decides to go back to work, in the neighborhood where she was attacked.

Let the Right One In (Swedish: Låt den rätte komma in) is a 2008 Swedish romantic horror film directed by Tomas Alfredson, based on the 2004 novel of the same title by John Ajvide Lindqvist, who also wrote the screenplay. The film tells the story of a bullied 12-year-old boy who develops a friendship with a vampire child in Blackeberg, a suburb of Stockholm, in the early 1980s. Alfredson, unconcerned with the horror and vampire conventions, decided to tone down many elements of the novel and focus primarily on the relationship between the two main characters and explore the darker side of humanity. Selecting the lead actors involved a year-long process with open castings held all over Sweden. In the end, the 11-year-olds Kåre Hedebrant and Lina Leandersson were chosen for the leading roles. They were subsequently commended by both Alfredson and film reviewers for their performances.

The film received critical acclaim and won several awards, including the "Founders Award for Best Narrative Feature" at the 2008 Tribeca Film Festival and the European Fantastic Film Festivals Federation's 2008 Méliès d'Or (Golden Méliès) for the "Best European Fantastic Feature Film", as well as four Guldbagge Awards from the Swedish Film Institute and the Saturn Award for Best International Film.

Oskar, a meek 12-year-old boy, resides with his mother Yvonne in the western Stockholm suburb of Blackeberg in 1981. His classmates regularly bully him, and he spends his evenings imagining revenge, collecting clippings from newspapers and magazines about grisly murders. One night he meets Eli, who appears to be a pale girl of his age. Eli has recently moved into the next-door apartment with an older man, Håkan. Eli initially informs Oskar that they cannot be friends. Over time, however, they begin to form a close relationship, with Oskar lending his Rubik's Cube to Eli, and the two exchanging Morse code messages through their adjoining wall. Håkan requests that Eli stop seeing Oskar. After questioning Oskar about a cut on his cheek, Eli learns that the boy is being bullied by schoolmates and encourages him to stand up for himself. This inspires Oskar to enroll for weight-training classes after school.

Amores perros is a 2000 Mexican crime comedy-drama film directed by Alejandro González Iñárritu and written by Guillermo Arriaga. Amores perros is the first installment in González Iñárritu's "Trilogy of Death", succeeded by 21 Grams and Babel.[4] It is an anthology film constructed as a triptych: it contains three distinct stories connected by a car accident in Mexico City. The stories centre on a teenager in the slums who gets involved in dogfighting; a model who seriously injures her leg; and a mysterious hitman. The stories are linked in various ways, including the presence of dogs in each of them.

The title is a pun in Spanish; the word "perros", which literally means "dogs", can also be used to refer to misery, so that it roughly means 'bad loves' with canine connotations. The film was released under its Spanish title in the English-speaking world, although it was sometimes translated as Love's a Bitch in marketing.

The film is constructed from three distinct stories linked by a car accident that brings the characters briefly together.

La Antena (English: The Aerial) is a 2007 Argentine drama film written and directed by Esteban Sapir. The film stars Valeria Bertuccelli, Alejandro Urdapilleta, Julieta Cardinali, with Rafael Ferro and Florencia Raggi in supporting roles.

The movie begins with a pair of hands typing on a typewriter. The denizens of a nameless city "in the year XX" have lost their voices. People communicate by mouthing out words that are spelled mid-air. The only person who has kept the use of her voice is La Voz ("the voice"), a singer working for the sole TV channel broadcast in the city, run by Mr. TV, who desires La Voz. La Voz wears a hood over her head that hides away her face. She has a son called Tomás, an eyeless little kid who nonetheless also has a voice (although this is kept a secret). Tomás lives next door to Ana, whom he one day befriends after a letter addressed to his house is erroneously delivered to hers.

The House That Jack Built

The House That Jack Built is a 2018 psychological horror art film written and directed by Lars von Trier, starring Matt Dillon in the title role of Jack. The story follows Jack, a serial killer, over the course of 12 years.[4] The film debuted at the Cannes Film Festival, marking von Trier's return to the festival after more than six years. It was given a single-day theatrical release on 28 November 2018 in the United States, and polarized critics.[5]

The story follows Jack, a serial killer with some artistic disposition, over the course of twelve years and depicts the murders that develop Jack as a serial killer through five "Incidents" and an epilogue. Throughout the film, he has side conversations with Verge in between the depictions of the incidents, most of which revolve around discussion of art, philosophy, ethics or Jack's view of the world.