Europe, autumn 1944. In the middle of a platoon of the 82nd Airborne, errors of command are going to isolate a small group of men who are under the command of Sgt. Pallumbo. Their destiny, mingled with hope and death, is going cross that of a family of citizens who struggle to survive too.
A band of determined Russian soldiers fight to hold a strategic building in their devastated city against a ruthless German army, and in the process become deeply connected to a Russian woman who has been living there.
Sandesaya (Sinhalese language word meaning The Message) is a 1960 film. The film based on the war between the Sinhalese people and the Portuguese invaders in Sri Lanka. It was directed by Sri Lankan film director Lester James Peries. It was produced by K. Gunaratnam on behalf of the Cinemas Company on the request of Raj Kapoor.
The story of the film revolves around the epic of Sheikh Bouamama, a leader of the national resistance in Algeria during the French colonial era. The events are taking place in southwestern Algeria. The film also tells about different stages of the resistance, especially about one of the uprisings of the Algerian people, namely "the battle of the sons of Sidi Sheikh Bouamama", in which French General Leuti was appointed to try to suppress and end this resistance.
The film is about the hot war summer of 1944. A group of several gun crews defends a tiny bridgehead on the right bank of the Dniester. The fates of the main characters: the front-line soldier-battalion commander Babin, the young lieutenant Motovilov, the nurse Rita Tamashova and the rank-and-file gunners, soldiers, among whom are brave people, faint-hearted and scoundrels, unnoticed heroes, are shown in a setting of several hours of peaceful life before another violent attack of the enemy, after which not everyone will survive...
A group of Javanese villagers are driven to revolt against the Dutch colonialists in this historical drama, which revolves around the themes of loyalty and treachery.
Shot on the streets of Kabul, Granaz Moussavi’s (My Tehran For Sale) outstanding new feature is in the tradition of the great child-centred works of the 1980s when filmmakers such as Kiarostami, Panahi and Amir Naderi (to whom this film is dedicated) were putting Iranian cinema in the forefront of world production. 9-year-old Hewad is an irrepressible, street-smart kid who is energetically working every angle, hustling everything from pomegranate juice to amulets to protection from the evil eye. His real ambition is to be a movie star, and this comes a step closer when he meets an Australian photographer. But in a city where every family has a member who has been “martyred,” the streets are as perilous as they are vivid. Australia’s recent involvement with Afghanistan has been mixed, to say the best. The deeply-felt humanism of this film might just be our most effective contribution to that troubled country.
Ahmed’s father has only a day with his wife and son before he must return to war. With haunting, innocent cruelty, the children play games that mirror the adult world, leading them to discover the harshness of destiny
In his experimental short film "Brutalität in Stein" (Brutality in Stone), Alexander Kluge demonstrates how Nazi architecture used dimensions of inhuman and super-human scale to bolster the regime's politics of the same kind. Shots of huge neo-classical architectural structures from the Nazi period are confronted with equally anti-human national-socialist language as a voice-over.
Paper-Scissor-Rock wars draws an episode where the two generals portray the Second World War, mostly through the rock-scissors-bag, but also by some absurd torture techniques that bring to mind some sort of Japanese artificial 70s jack ass. To the sound of classical music, birds chirping and Nazi incendiary speeches travels generals, ever contestant in the seemingly meaningless game around at an abandoned industrial area.
