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Some titles are not yet present in the IMDb: 7 Aatankwadi (Harvinder Pal, 2005) Anti Terrorist Force (Joe Catalonotto, 1986) Art of Love (Ralf Scott, 1998) Bad Girls (David I. Frazer, 1981) Badmash Te Qanoon (Agha Imtiaz Quresh, 2002) Baghi (Syed Noor, 2001) Betmen Yarasa Adam (Savas Esici, 1973) Blood Night (R.W. Morgan, ?) Cannibales! (Kirk Alex, ?) Captain of Cosmos (Roy Thomas, 1989) Chorake (Sompote Sands, 1981) Commandos Destructor (Bruce Lambert, 1986) Crocodile Fury (Ted Kingsbrook, 1988) Desan da Raja (Parvaiz Rana, 1998) Desert Warrior (Jun Gallardo, 1988) Évasion de l'enfer (Alberto Vasquez Figueroa, ?) Fight the Kickboxer (Vincent Cheung, 1992) Hanoï Commando (Conrad C. Puzon, ?) Jaguar Force Thunderbolt (Poon Yung Man, 1983) La bataille du 38ème parallèle (Im Kwon-Taek, 1973) La Comtesse Hachisch (?, 1930s) La Via Dura (Michael E. Lemick, 1987) Lady Blood Boxer (Tyrone Hsu, 1974) Legend of Mulan (Darko Perovic, 1998) Mariah, prison d'État (Victor Lobel, ?) Solar Adventure (Roy Thomas, 1990) Soleil noir (John de Bello, ?) Special Commando (Larry Huton, 1988) Spiderman (E.W. Swackhamer, 1977) Striker (Stephen G. Andrews, 1987) Super Riders (Lin Chen Wong, 1972) Supermen Dönüyor (Kunt Tulgar, 1979) The Doll Squad (Ted V. Mikels, 1974) The Silver Twilight (Roy Thomas, 1985) Thunder Prince (Lenny Washington, 1987) Top Marine's (Shing Hong Lau, ?) Top Team Force (Victor Sears, 1987) Un contrat pourri (Alfred Cassatas, 1986)
The following list contains the 25 new titles added in the NFR in December 2015. For each title, there is an extract of the justification published on the official website of the Library of Congress.
In your opinion, which of these titles most deserves to be preserved for the future generations?
Cependant, la revue conserve une forte image de revue "anti-cinéma populaire"... Cette liste présente quelques films ayant une note de 7.0/10 ou plus dans l'IMDb, mais qui ce sont fait descendre par les critiques des Cahiers.
The english translation is coming soon... ;)
In your opinion, which one is the best remake? (not necessarily the best movie)
Onno de Onwetende (2014)
A disturbing, surprising and wonderful student film
I had the chance to see "Onno de Onwetende" during the 27th European First Film Festival, in the "Student Films" program. This competition included many interesting movies (particularly "Las Pequeñas Cosas" by Carla Simon Pipó and "Loop Ring Chop Drink" by Nicolas Menard) but there was one movie that stood out of the others : "Onno", because it's one of these movies that look like none other.
The first minutes of this movie are very surprising: we see a tornado of aesthetic images without real link between them. Onno, the main character, is trying to remember when he felt a strange feeling for the first time, a feeling which obsesses him. Shots and archive images succeed quickly: we are in the head of Onno, in his mind and in his memories. There are a camera obscura, a church, a naked man running on the beach, a phone booth in a forest...
We don't really understand what is happening and then, there was his father's disease and the narrator who told us that it doesn't make any sense and so, this movie either. So, we accept it. We accept that this film may have no logic and we accept to be caught by this flow of images where our role is completely contemplative.
The story evolves during the film. There is the disease of the father but also a love story. And Onno runs. He runs to catch that elusive feeling or maybe just to escape his reality. Onno runs from memories to memories, he runs in the past, he runs until to break the fourth wall.
I will not develop here about the final act of the story which surprised many people in the movie theater. I will just say that for me, it makes perfect sense : things are just things, this film is just a film and it's natural that the movie ends in a cinema. Because "Onno" is like the cinematography itself : beautiful, visceral and surprising.
Undoubtedly, "Onno", is one of the most interesting films of 2014. But this kind of short movie is very little diffused outside film festivals, so, if you have the opportunity to see it, don't hesitate: even if you don't like the choices of direction, you will see one of the strangest film of this early decade.