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Showing posts with label Anouk Aimee. Show all posts
Showing posts with label Anouk Aimee. Show all posts

Friday, June 26, 2026

Head Against The Wall La Tete Contre Les Murs 1959 New On Bluray

Product Description: After he steals money from his wealthy father one too many times, the rebellious François (Jean-Pierre Mocky, Litan) is forcibly committed to a psychiatric institution. Labelled a delinquent and an arsonist, he endures the dehumanizing treatment reserved for society's rejects, and attempts to thwart the archaic methods of the cruel Dr. Varmont (Pierre Brasseur, Children of Paradise).

Adapted by Mocky from Hervé Bazin's shocking autobiographical novel, this poetic and furious debut feature from Georges Franju (Eyes Without a Face) features an all-star cast including Anouk Aimée (La Dolce Vita) as François's only visitor, Paul Meurisse (Diabolique) in the role of the more modern Dr. Emery, and Charles Aznavour (Shoot the Piano Player) as a long-time resident of the institution.


Find out more about this DVD/Blu-ray release after the jump.

Sunday, April 5, 2026

A Man And A Woman Un Homme Et Une Femme New On Bluray Criterion

Product Description: Claude Lelouch’s Academy Award–winning international sensation is a paragon of swooning cinematic romanticism and 1960s chic. Against the rain-swept backdrop of the Normandy coast, two widowed single parents—race-car driver Jean-Louis (Jean-Louis Trintignant) and film-script supervisor Anne (Anouk Aimée)—find themselves falling for each other. But are they ready to move on from the shadows of their former lovers? Reveling in its stars’ chemistry and unfolding as a sublime swirl of shifting film stocks, whirling camera work, and time- and space-collapsing editing—all set to Francis Lai’s unforgettable score—A Man and a Woman endures as one of the most intoxicating love stories ever told.


Find out more about this DVD/Blu-ray release after the jump.

Sunday, October 26, 2014

la-dolce-vita-criterion-collection-dvd-blu-ray

Product Description: Filmmaker Frederico Fellini wrote an directed this film, a dark and sometimes humorous account of the grand ennui and excesses of Rome's idle rich. The opening scene shows a helicopter carrying a large statue of Jesus over the city. Local gossip reporter Marcello Rubini (Marcello Mostroianni) follows in a second helicopter in hopes of a story. He meets a wealthy heiress and the two engage in a menage a trois with a prostitute. He returns home to find his regular mistress has overdosed on sleeping pills. After she is out of danger in a local hospital, he proceeds to the airport to meet Hollywood sex kitten Sylvia (Anita Ekberg). The two take a tour of Rome before Marcello is attacked by the woman's husband. Marcello leaves the city to report on two children who have allegedly envisioned the Virgin Mary. Marcello's father arrives and scolds his son for his life of hedonism. When the father leaves, the son goes to a seaside orgy after discovering his friend has killed himself along with his two children. At this point, the disillusioned reporter is only interested in pleasures of the flesh and parties. At the end of the film, he walks off with friends as a naked woman walks by. The film remains a Fellini classic, allegedly taken from real life characters he has encountered in Rome.

Starring: Marcello Mastroianni, Anita Ekberg, Anouk Aimée, Yvonne Furneaux

Running Time: 174 min

Rating: Not Rated

Buy from Amazon.com (Click links to order / pre-order):

Special Features:
  • New visual essay by : : kogonada
  • New interview with filmmaker Lina Wertmüller, who worked as assistant director on the film
  • Scholar David Forgacs discusses the period in Italy’s history when the film was made
  • New interview with Italian film journalist Antonello Sarno about the outlandish fashions seen in the film
  • Audio interview with actor Marcello Mastroianni from the early 1960s, conducted by film historian Gideon Bachmann
  • Felliniana, a presentation of ephemera related to La dolce vita from the collection of Don Young
  • PLUS: An essay by critic Gary Giddins







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