Valentin

Starring:Juan Cruz Bordeu, Julieta Cardinali, StÃ©fano Di Gregorio, Marina Glezer, Carmen Maura, Jean Pierre Noher, Rodrigo Noya, Lorenzo Quinteros, Carlos RoffÃ©, Mex Urtizberea, FabiÃ¡n Vena
Studio: Miramax
Product Type: DVD

Amazon.com

A love letter to movies (and the French new wave of the 1960s in particular), Bernardo Bertolucci's The Dreamers starts with a 1968 riot outside of a Parisian movie palace then burrows into an insular love triangle. Matthew (Michael Pitt, Hedwig and the Angry Inch), an expatriate American student, bonds with a twin brother and sister, Isabelle (Eva Green) and Theo (Louis Garrel), over their mutual love of film--they not only quote lines of dialogue, they act out small bits and challenge each other to name the cinematic source. Matthew suspects the twins of incest, but that doesn't stop him from falling into his own intimacies with Isabelle. As the threesome becomes threatened, Paris succumbs to student riots. The Dreamers aspires to be kinky, but the results are more decorative than decadent; nonetheless, the movie's lively energy recalls the careless and vital exuberance of Godard and Truffaut. --Bret Fetzer

Description

From Academy Award®-winning director Bernardo Bertolucci (The Last Emperor, 1987), comes an erotic tale of three young film lovers brought together by their passion for movies -- and each other. When Isabelle and Theo (Eva Green, Louis Garrel) invite Matthew (Michael Pitt) to stay with them, what begins as a casual friendship ripens into a sensual voyage of discovery and desire in which nothing is off limits and anything is possible. Featuring an engaging, seductive cast, The Dreamers is a ?spellbinding, provocative feast!" (Ebert & Roeper)

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The Abandoned
Starring: Karel Roden , Paraskeva Djukelova , Valentin Ganev , Anastasia Hille , and Carlos Reig-Plaza
Director: Nacho Cerdà
Manufacturer: Lionsgate
ProductGroup: DVD
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Dead Silence (Unrated Widescreen Edition)
The Messengers
Ghost Rider (Two-Disc Extended Cut)
Dark Ride - After Dark Horror Fest
The Hitcher (Widescreen Edition)

ASIN: B000OY9V9S
Release Date: 2007-06-19

Description

An American woman searching for her birth parents learns she has inherited a house in the middle of a forest in a remote area of Russia. It is the house where she was born. Abandoned and uninhabited for 40 years, it stands in total disrepair and neglect. What she finds is more than an old house. She meets a mysterious man claiming to be her twin brother and together they find the house holds dangerous secrets to a past they don't even remember. They are forced to relive a series of horrifying events and shocking murders that occurred just after they were born, and in the place where they were supposed to die.

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Hellfighters
Starring: John Wayne , Katharine Ross , Vera Miles , Jim Hutton , and Jay C. Flippen
Director: Andrew V. McLaglen
Manufacturer: Universal Studios
ProductGroup: DVD
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ASIN: 0783230478
Release Date: 1999-01-05

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Fans of Armageddon might see one or two resemblances between that 1998 box office hit and Hellfighters, a 1968 action film by Andrew V. McLaglen, one of John Wayne's favorite directors in his late career. (Their joint ventures included Chisum, Cahill: United States Marshal, and McLintock!) Wayne plays an oil well firefighter in the mold of Red Adair, turning up anywhere in the world where a geyser of fire is shooting up from a once-profitable gusher. His right-hand man (Jim Hutton) has questionable judgment about safety matters and is a scoundrel with the ladies--and neither fact is lost on Wayne when Hutton's character marries his long-lost daughter (Katharine Ross, a mere year after The Graduate). The film is an early entry in the disaster-meets-soap-opera genre that flourished in the '70s with such titles as The Towering Infernoand The Poseidon Adventure. McClaglen gets a lot of crackle out of his action scenes (many of the firefighting sequences are still startling in their intensity) and turns twin love stories (Hutton and Ross, Wayne and Vera Miles) into frothy studies of adult manners, with equal hints of Howard Hawks and Sidney Sheldon. The widescreen image on DVD offers viewers a chance to see what was then a developing vogue for gratuitous breadth and scope in all its goofy, self-congratulatory glory. (Is it necessary to look at a golf course the way one might look at an African veldt? Hellfighters says yes!) The DVD also includes production notes and written bios on the stars, plus optional French and Spanish subtitles and an optional Spanish soundtrack. The cast and sundry thrills make this film highly enjoyable, and easily forgivable for indulging in such inanities as a subplot concerning--hold on--Venezuelan terrorists! The Duke lives! --Tom Keogh

Touch of Evil (Restored to Orson Welles' Vision)

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Orson Wells
Touch of a master.
Touch of Evil
WIDESCREEN DEBATE
A masterpiece of Gothic expressionism!

Touch of Evil (Restored to Orson Welles' Vision)
Starring: Joe Basulto , Joseph Calleia , Ray Collins , Marlene Dietrich , and Zsa Zsa Gabor
Manufacturer: Universal Studios
ProductGroup: DVD
Binding: DVD

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ASIN: 6305999872
Release Date: 2000-10-31

Amazon.com essential video

Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles's film noir masterpiece Touch of Evil was, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles's original vision was meticulously followed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles's directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles's control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberance of the dazzling directorial style. --Jeff Shannon

Customer Reviews:

Orson Wells.......2007-03-19

well worth seeing. A Wells classic, that just has not aged

Touch of a master........2007-02-28

Touch of Evil (Orson Welles, 1958)

The American Experience documentary The Battle Over Citizen Kane concludes with the observation that after the scandal that erupted over Kane, Orson Welles "never worked on another major Hollywood production." Which is pretty amazing, when you consider how many of Welles' post-Kane movies are acknowledged as classics nowadays. After Kane, Welles plunged himself deep into the world of noir (one wonders what Jung would have to say about that) and continued cranking out fantastic movies. Seventeen years later, Welles made his second-best movie-- Touch of Evil, the very epitome of the things that make noir great.

Mike Vargas (Charlton Heston) is a Mexican (yeah, yeah, but suspend your disbelief) narcotics officer who's just gotten married to Susan (Janet Leigh), a Philadelphia socialite. On the eve of their honeymoon, someone plants a bomb in the car of a rich American on the Mexican side of the border, and the bomb explodes on the American side. This brings Vargas into contact with Hank Quinlan (Welles), a corrupt, racist American detective who tries to railroad Manelo Sanchez (Victor Millan, last seen in Scarface), the victim's daughter's boyfriend, by planting evidence at the crime scene. Vargas, meanwhile, is also being pursued by Joe Grandi (Justine's Akim Tamiroff), a crime boss whose brother Vargas arrested. All the threads eventually come together in the most entertaining of ways; the movie's climactic scene has been copied (and parodied) so many times that by now it's a cliché. But remember that it wasn't in 1958; this is as good as it gets.

Orson Welles' directorial prowess was as legendary as his excesses. Rent a Welles movie at random, and you're pretty much guaranteed a good time. Some of his movies, though, deliver more universally than others; Citizen Kane seems to be the favorite of most folks. Mine has always been The Stranger. But Touch of Evil stands with both. This is great stuff, an absolute must for film fans. **** ½

Touch of Evil.......2007-02-27

"Touch of Evil" is the movie that ended Orson Welles' reign in Hollywood, a huge failure at the time of its release. Now, it's considered his 2nd best film (hopefully I don't need to tell you what #1 is). "Touch of Evil" is a slice of film-noir, written and directed by Welles', set in Los Robles, a Mexican-American border town. As the movie opens (in one of the best shots I've ever seen) with an unbroken shot lasting three minutes and twenty seconds, a bomb is placed in a car. The camera follows the car, but stops as we're introduced to a newlywed couple: Mike Vargas (Charlton Heston), a Mexican narcotics official and his wife Susan (Janet Leigh). As they're going through a border checkpoint, the car drives past them and then we hear an off-screen explosion. As the police descend upon the scene like vultures, the tension slowly builds as we wait for Captain Hank Quinlan (Welles). The Welles' we finally see is quite different from the Welles' that once played Charles Foster Kane. The new Welles' is a fat, sweaty man who seems to be standing above the camera in almost every shot he's in. Quinlan comes in and states that the explosion was caused by dynamite, he cites "intuition" as his proof. As Vargas gets involved with the investigation, much to the dismay of Quinlan, Susan is set up at a secluded motel. Meanwhile, a local crime boss named "Uncle Joe" Grandi (Akim Tamiroff) is trying to harm Susan because Vargas is testifying against his brother and harming Vargas directly will get his brother convicted. Meanwhile, we watch as Quinlan investigates the explosion and realize that he has his own agenda. He's a dirty cop, distraught over the unsolved murder of his wife, who has no problem planting evidence to get someone arrested. One of the best scenes in the movie (which seems to reflect a passage from Welles' own life) is when Quinlan, drunk, goes to see a fortune-telling madam (Marlene Dietrich). The scene reads as follows:
Welles-Come on, read my future for me.
Dietrich-You haven't got any.
Welles-Uhh...What do you mean?
Dietrich-Your future is all used up.
"Touch of Evil" is a film that embodies what film-noir is supposed to be. Dark cinematography and low camera angles and there's a lot of that. This DVD is a terrific edition. The story behind the making of "Touch of Evil" is almost as well known as the film itself. After the studio drastically re-edited the film, Welles' wrote a pleading 58-page memo to the studio. Now, all these years later, we see the version that Welles' wanted. The cinematography of this film is an absolute gem. There are a lot of legendary and very well done shots that should rank up there with the best Gregg Toland shots in "Citizen Kane." Touch of Evil is a terrific, underrated film by "The Boy Genius."
GRADE: A-

WIDESCREEN DEBATE.......2007-01-25

I have read reviews on this site suggesting that this dvd release cropped the top and bottom of the original aspect ratio. I have seen the late '90s release of Touch Of Evil in the theater. I remember the top and bottom of the Universal globe was (slightly) chopped off of this theatrical release and looks just like the aspet ratio of this dvd release. I believe this dvd portrays the aspect ratio accurately. Besides, I have never heard of movies in the late 1950's released in the theaters having a "square" or "television" type of aspect ratio like most movies released in the 30's and 40's.

A masterpiece of Gothic expressionism!.......2007-01-16

Orson Welles' "Touch of Evil" is a complex, ironic examination of the relationship between the law and justice... The film must stand beside the very best in detectives genre...

Its enormous confused tracking shots, its low angles, its tormented lighting, its obscure intelligent photography, its great use of the wide-angle lens, its hard complexity and complete fictional night-city word, all represent a brilliant essay of pure cinema establishing Welles as an alarming genius, one of the greatest filmmakers with movies years ahead of their time...

"Touch of Evil" is an outstanding achievement of a great cinematic mind, displaying a powerful range of Gothic expressionism... Welles' first appearance as a corrupt used-up Texas police captain (Hank Quinlan) is no less surprising...

A police car comes to a stop to the scene of a murder and unexpectedly there is Welles, sitting in the back seat: gross, unshaven, sweaty, and with a cigar clenched between his teeth... He seems a repellent person, with "intuition," manifesting that sensation of evil, as no crime movie has managed to do since, a suggestion of corruption that is the key to the fascinating and doubtful character he plays... Welles character will cheat, lie and murder in order to prevent the truth from emerging... One hates his toughness, yet one still understands him and feels pity for him than for his victims...

Joseph Calleia, his slightly more presentable assistant, is like Dana Andrews in Otto Preminger's "Where the Sidewalks Ends," a villain with unchanged methods: he waits, watches, leaves the police work to others, remains loyal to his profession and to his boss--but could not exist without him, or in another environment...

From that moment, we are caught between admiration of his brilliant directorial effects and fascination with his characterization of Quilan, a chief able to make a quick arrest by the simple expedient of framing the most likely suspects... He appears to have been using the techniques for years, but before this he has usually fitted the frame round the guilty party... It is a performance which frequently gives great energy to the screen...

Stanley Kubrick once said that the first shot of a movie should be the most captivating... Definitely, Welles' legendary opening shot satisfies one of the key requirements of the movie mystery... Of course, Russ Metty deserves a lot of credit...

The long traveling shot starts with a close-up of a time-bomb being placed in the trunk of a car by a shadowy figure, then, the richest man in town (Rudy Lanniker) and his mistress appearing from the background, getting into the car and driving away across the border from Mexico to the United States and through the border town... By this time the roving camera--that seems never to come to a standstill, has offered to us long view of the surroundings (crumbling arches, peeling walls, poor hotels and night clubs and a lot of trash) which will enclose the plot...

While the convertible stops at a crossroad, the camera descends swiftly to introduce a Mexican gentleman, an idealistic justice department lawyer Ramon Vargas (Charlton Heston) and his bride, the blonde American Susan (Janet Leigh) walking toward the frontier...

The superlative camera tracks the couple for some time, catching again the car as both Vargas and the automobile meet at the U.S. Customs post... We see and hear a conversation between Vargas, his wife and the border guard as the vehicle moves out of the frame... We proceed with the couple about to cross the border until the bomb goes off and the car explodes... The killing is the start of the conflict between policemen from both sides of the border...

"Touch of Evil" is great and memorable for the distinguished description of its scenes, its images, its acting and its sound track... Its importance lies entirely in how the event is told 'not' in the message or material...

In addition to its wonderful opening, the film contains other outstanding sequences:

- The deplorable ambiance of a closed nightclub where Marlene Dietrich wisely advises Welles to "lay off the candy bars." "Honey, you're a mess", she says when she finally recognizes Quinlan, and (at the end of the picture) when he asks "Come on, read my future for me," she replies: "You haven't got any. Your future is all used up. Why you don't go home."

- The single shot (in the murder suspect's apartment) where Welles handles his cast with great skill... There is much overlapping conversation as everyone talks at once, and half a dozen characters are brilliantly delineated...

- When the camera meets a group of three characters crossing the street across a hotel lobby and into a restricted elevator, and rides with them slowly up to the second floor until Vargas, who has left them in the lobby, reappears at the very moment the elevator door reopens...

- The horrifying siege of Leigh at the isolated Mirador Motel by a gang of young punks...

Perhaps the finest things about "Touch of Evil" is the cold, strange and unsympathetic atmosphere of its night city (narcotics, gang-rape, racism, prostitution) an almost universal corruption...

It's unlikely that there will ever be a more unpleasant or offensive or disgusting detective than Welles or a more fascinating one...

Watch for Mercedes McCambridge in it... but look quickly, or it will be too late.

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Hatari!
Starring: John Wayne , Hardy Krüger , Elsa Martinelli , Red Buttons , and Gérard Blain
Director: Howard Hawks
Manufacturer: Paramount
ProductGroup: DVD
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ASIN: B00005JSGK
Release Date: 2001-07-24

Amazon.com

Howard Hawks's 1962 adventure-comedy is basically the same, loosely plotted movie Hawks made over and over again for decades. A collection of professionals with a common goal--in this case, animal trapping in Tanganyika--forms a pocket community and holds each other to high standards in their work. This is a film about camaraderie, crisp banter, romance, and exciting action (the animal sequences are great). John Wayne played this part in about a thousand ways for Hawks over the years, and he could not be more entertaining as a grizzled pro. --Tom Keogh

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Quinceanera
Starring: Jesus Castanos , Araceli Guzman-Rico , Emily Rios , J.R. Cruz , and Listette Avila
Director: Richard Glatzer (II) , and Wash Westmoreland
Manufacturer: Sony Pictures
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ASIN: B000K2Q7CI
Release Date: 2007-01-09

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A Sundance Film Festival Grand Jury Prize-winner, Quinceañera is a small film with a big heart. The plot unfolds at the leisurely pace of life itself, yet there's not a wasted moment in the script. The story follows the travails of young Magdalena (Emily Rios), a teen in the Mexican-American, but gentrifying, Los Angeles neighborhood of Echo Park. As Magdalena's 15th birthday approaches, and the festive coming-of-age quinceañera party that accompanies it, life throws her a curve ball in the form of an unexpected--and possibly miraculous--pregnancy. In disgrace, she turns to her elderly uncle Tomas and sometime gangbanger and not-quite-uncloseted gay cousin Carlos. The interactions of these unlikely family members ring completely true, with stellar performances by Dios as well as Chalo González as her warm Tio Tomas and Jesse Garcia as the smoldering Carlos. The portrayal of life in Echo Park is intimate and effortless, as the teens slide interchangeably between Spanish and English; crime and gang activities coexist with trendy gay couples and their fashionable remodels. And in the heart of it all, the family ties among the three lead characters prove unconventional--and unbreakable. The DVD also contains a commentary with the filmmakers and cast members, a Q&A with them, and a "making-of" featurette. --A.T. Hurley

Product Description

As Magdalena's (Emily Rios) 15th birthday approaches, her working class family prepares for the all-important Quinceañera - a lavish coming-of-age celebration. To help with expenses, Magdalena is forced to wear a hand-me-down party dress and abandon her dream of arriving in a Hummer limousine. But when her father discovers she's pregnant and refuses to believe the incredible truth - she's actually still a virgin - Magdalena moves in with her elderly Uncle Tomas (Chalo González) and black sheep cousin Carlos (Jesse Garcia). Her newfound family is soon put to the test, however, when an unexpected crisis threatens to tear them apart, and Magdalena learns what it truly means to come of age.

Beyond Quinceañera at Amazon.com

More Films about Coming of Age
The Soundtrack
Celebrating a Quinceañera Book

Amazon.com

William Friedkin briefly revived his faltering career with this sleek, bleak thriller of a pair of secret service agents on the trail of a counterfeiter. William L. Peterson is the hotshot protégé of a career agent killed by the ruthless, almost feral counterfeiting genius Willem Dafoe (Platoon). Now Petersen, teamed with the smart but still green John Pankow (TV's Mad About You), is ready to twist arms, lean on criminals, steal, and even murder to exact his revenge. The harrowing chase through the streets of Los Angeles that climaxes on the freeway at rush hour, where Friedkin's brilliant twist sends them heading the wrong way, careening through a sea of cars coming straight at them, is still one of the most breathtaking car chases ever filmed. Friedkin's edgy crime thriller, stylishly shot in steely blues against hazy red and orange skies by Robby Muller (Paris, Texas), paints a very thin line between the good guys and the bad guys, and Wang Chung's techno soundtrack sets the proper mood--jumpy and alienated. It's a cynical and very brutal look into the world of law enforcement (adapted by Friedkin and former Secret Service man Gerald Petievich from his novel) and a cold portrayal of the power games between cops and feds, and cops and informants. John Turturro, Dean Stockwell, and Robert Downey Sr. are featured in supporting roles. --Sean Axmaker

Customer Reviews:

And what a soundtrack!.......2007-06-08

I remember seeing this in the theatre. Never saw it again until now. I'm going out to buy the Wang Chung soundtrack. Wm Petersen is perfect in this role.

Smog gets in your eyes.......2007-03-28

Mean streets don't get any more jaded than Friedkin's hot and dusty, baked-on nasty L.A. in the nihilistic 80's. The sun seems to set on the stench only to rise, far too quickly, over an even wearier, more dangerous world. From the cliché start (partner shot hours before retirement, the ensuing vengeance), this film quickly flips into a more thought-provoking story, where the cop (a Secret Service agent) morphs into (or maybe always was) easily the most cynical, manipulative, vicious piece of work on film, pitting himself against a suave counterfeiter (Dafoe) who's almost likeable, given his counterpart. All of it's swathed in the red smudge of a dying sun, and twenty years on, sticks out as one of the best caper movies--minus any illusions whatsoever--I can remember.

Live and Die.......2007-03-24

Surprisingly after all the praise and wonderous words spoken via the internet and family, it still took 22 years for me to watch "To Live and Die in L.A."

Being a fan of William Petersen (of C.S.I. Crime Scene Investigation - The Complete Sixth Season fame) and Willem Dafoe (Spider-Man (Widescreen Two-Disc Special Edition)/ Boondock Saints (Unrated))and William Friedken (The French Connection (Two-Disc Collector's Edition)), it was almost a natural I would enjoy this movie.

The story of a Secret Service agent played by Petersen who is determined to stop at nothing in order to take down his adopted nemesis; a counterfeiter who poses during the day as an artist. The complexity of their differences is astounding. Petersen's character, Chance, is the type of guy who lives by the seat of his pants. He's always taking risk after risk with his own life. He's hotheaded and tempermental. With a personality like this, it's amazing he's a Secret Service agent whom we first see guarding the President!

Meanwhile, Dafoe's character: Masters is the polar opposite. He's disturbed, like Chance, but he takes his craft, his art, his talent and puts it where far too many people don't: he makes money for himself...litterally. He not only forges legal tender, but sells what he makes.

The rest of the cast is full of the "Hey! I know him (or her)!" moments as well. From John Turturro (O Brother, Where Art Thou?/The Big Lebowski (Widescreen Collector's Edition)) to John Pankow (notable from Mad About You - The Complete First Season) to even Jane Leeves. (Frasier - The Complete Fifth Season)

William Friedken is a genius when it comes to crime drama. More precisely, based upon films like this, The French Connection, and The Exorcist, he's a master of the thriller genre. The heroes in his films are flawed to say the least, but determined.

The action in To Live and Die in L.A. is a pure adreneline rush. It's nice to see Petersen running and dodging danger with gusto not seen in his more subtle, laid back approach to his CSI role. The infamous car chase is one of the best filmed to date. Just when the audience thinks it may be close to completion, another obsticle stands in the heroes way, then another, and another!

Then there's the ending, shocking to say the least. I believed I heard everything there was to know about the film, but then the last fifteen or so minutes blew me away. Original, and fantastic.

But of course, if one should decide to give someone else a tour of pure 80's style action films, this should not be the first. The music, albeit considered classic now, shows its age. The style, far from lackluster, is obviously low budget. The budget doesn't hurt the story, script, directing, or flow, mind you, it is just something which could go unappreciated by first time watchers.

Anyway, the movie is well worth whatever price you decide to pay. For Friedken Fans, for Willam Petersen fans, for Willem Dafoe fans.
The characters are rich to say the least. This is the type of action movie and cat-and-mouse game a lot of films long to be.

If you saw this when you were 16 and thought it was great, see it again........2007-02-11

This is what happened to me - I was embarrassed for myself. This is probably one of the worst crime films ever made - profoundly poor acting, terrible script, a soundtrack that is too awful for words. And William L. Peterson is such a detestably unsexy little man - he spends the entire movie swaggering around in a pair of tight jeans with mannerisms so studied it plays like comedy.
There is nothing redeeming about this film whatsoever - unless of course you want to laugh at how ridiculously dated it all is.

Bleak & Beautiful L.A. in the 80s.......2007-01-05

Friedkin's TO LIVE AND DIE IN L.A. gives us a sharp look at Los Angeles in the early 1980s as no one else has in my experience. The film is as terse and taught as it's actors, giving the viewer especial insight into the L.A. art scene, particularly the performance art of the times.
It's really good to see William Peterson's early work, since we are so accustomed to seeing his eccentric introvert on CSI. Here he's a hotshot, fledgling Secret Service agent on the trail of a counterfeitor, Willem Dafoe. Dafoe is memorable as artist Rick Masters who is so high on his own ego that he has no boundaries---so it is interesting when he runs in to Peterson who lacks boundaries as well. It's all very no-holds-barred.
Friedkin has a real feel for the ambience of the town as I remember it, and it's no slouch as a thriller either, but don't expect hearts and flowers or a cozy mystery. It's harsh and sometimes hard to watch, but worth the effort.

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The Blossoming of Maximo Oliveros
Starring: Soliman Cruz , JR Valentin , Neil Ryan Sese , Ping Medina , and Bodjie Pascua
Director: Auraeus Solito
Manufacturer: TLA
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Wild Tigers I Have Known
Young Aphrodites
Son's Promise
Vito and the Others (Vito e gli altri)
Western Lights: In the Wake of Christopher Columbus

ASIN: B000Q677HC
Release Date: 2007-08-28

Product Description

THE BLOSSOMING OF MAXIMO OLIVEROS tells the story of Maxi (Nathan Lopez) a gay, pre-teen growing up in the slums of Manila, who is deeply loyal to his family of petty thieves. His world revolves around his father and two brothers, who love and protect him in return for Maxi s devotion to completing domestic chores and covering their tracks when they commit crimes. When Maxi meets Victor (JR Valentin) a well-meaning, handsome policeman, the two become fast friends and Maxi begins to learn that he can have a better life, which soon incurs the ire and disapproval of Maxi s family. The digitally-shot feature made its U.S. debut at the 2006 Sundance Film Festival and was the official Philippine entry of the 2007 Academy Awards® for Best Foreign Language film. The film has also garnered several film festival awards including the Teddy Award at the 2006 Berlinale Film Festival and Best Asian Film at the 2006 Rotterdam Film Festival.

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Come and See
Starring: Aleksei Kravchenko , Olga Mironova , Liubomiras Lauciavicius , Vladas Bagdonas , and Juris Lumiste
Director: Elem Klimov
Manufacturer: Kino Video
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Release Date: 2003-09-02

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Starring: Jérémie Renier , Louise Monot , Bruno Todeschini , Michel Jonasz , and Charlotte de Turckheim
Director: Christian Faure
Manufacturer: Picture This
ProductGroup: DVD
Binding: DVD

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