Roberto Rossellini directs his then-wife Ingrid Bergman in the suspenseful drama La Paura (Fear), based on the book by Stefan Zweig. Guilt-stricken Irene Wagner (Bergman) is forced to hide her secret affair with Erich Baumann (Kurt Kreuger) from her husband, Professor Albert Wagner (Mathias Wieman), a scientist in the midst of a serious breakthrough. However, Erich's ex-girlfriend, Joanne (Renate Mannhardt), finds out and threatens blackmail. This throws Irene into a fit of homicidal and suicidal rage. La Paura is an atypical entry in the Bergman-Rossellini film canon because of its German expressionist style and psychological plot twists.

Alain Delon stars as Marc, a small-time swindler and Casanova who finds himself on the hit-list of an American gangster. He escapes the first attempt on his life in Monte Carlo and hides out serving as a chauffeur for the married Barbara (Lola Albright). Marc seems to have gotten into a bigger mess when he finds that Barbara's husband was murdered by her lover Vincent (Robert Oumansky), whom she is now hiding in her chateau. Barbara is planning to pass Marc off as her lover, hoping he will be knocked off by the authorities rather than Vincent. Attempting to save Marc — or just complicating matters — is Barbara's niece Melinda (Jane Fonda), who has fallen in love with Marc. If Marc plays his cards right, he may be able to get out of his uncomfortable predicament.

London, 1944. John Reginald Christie (Richard Attenborough) is digging in his backyard when he comes across a woman’s leg. Unfazed, he covers up the leg and continues to bury the woman he just strangled in his kitchen. Three years later, Timothy Evans (John Hurt), along with his wife, Beryl Evans (Geeson), and their baby, rent an apartment in the same decrepit building - 10 Rillington Place. The young couple struggle to live on Timothy’s minuscule pay while Christie insidiously inserts himself into their lives. He manipulates the pregnant Beryl and the illiterate Timothy until they believe he will perform an abortion on Beryl. However, Christie has other plans...

The musician duo of Goopy Gyne and Bagha Byne make a comeback in this sequel, where they are invited to the court of the Hirak Raja (Diamond King), for their musical skills. They have to perform at the kingdom's Jubilee Celebrations. However, coming to the kingdom, they use their natural goodness and curiosity to find out that all is not well in the kingdom. There is exploitation of poor farmers and diamond-miners. There are sycophant courtiers and ruthless armies. And there is a mad scientist with this Brain-washing machine. With the help of an upright school-master, Goopi and Bagha set out to correct the evils... with the help of their ghost-given skills, fast thinking and an impish sense of humour.

Stuck in no-hope town of Slask, Poland, where unemployment is high and money scare, 19-year-old Wojtek (Pawlicki) quits his job at the concrete factory when a co-worker is seriously injured on the job. Wojtek is desperate for cash so he can move in with his g.f. Katja (Nataliya Vdovina), an illegal Ukrainian immigrant somewhat older than him with a kid, Andriy (Dmytro Melnychuk), from a previous marriage.

Vittorio is looking for his ideal woman. He meets Sonia, a sweet pleasant intelligent girl. A goldsmith by trade, Vittorio is obsessed with the desire to shape Sonia’s body and mind as he shapes gold with fire. Their relationship grows into a reciprocal masochistic game. When the two lovers isolate themselves in a house in the Italian countryside, they dangerously lose touch with reality and the rest of the world.

Five years after his first appearance, Jacques Tati's M. Hulot returns with Mon Oncle, a film set along the dividing line between Paris' past and its future. Aligned (as is the film) with the former, Hulot lives in a colorful, overpopulated Parisian neighborhood and, lacking employment, spends his days waiting to pick up his adoring nephew from school, and subsequently escorting him to his parents' ultra-modern house. Filled with gadgets, some turned on only to impress the neighbors, the house seems designed specifically to frustrate Hulot, who unwittingly disrupts its operations at every opportunity. Concerned about his future, Hulot's relatives attempt to find him gainful employment and pair him off with a neighbor, with little success on either front. The nearly dialogue-free film is less concerned with the family's attempts as they relate to an overall plot, and more interested in how they play into its overall scheme of contrasts and allow for Tati's unmistakable sight-and-sound gag set pieces.

After an eight-year prison term for rape and assault, Max Cady (Robert Mitchum) is set free. Immediately making a beeline to Sam Bowden (Gregory Peck), the former prosecutor responsible for Cady's conviction, Cady laconically informs Sam that he intends to "pay back" the attorney for his years behind bars. Conducting a meticulous campaign of terror, Cady is careful to stay within the law. Sam, realizing that Cady intends to wreak vengeance by raping the attorney's wife (Polly Bergen) and daughter (Lori Martin), tries to put the ex-criminal behind bars, but has no grounds to do so. Chief Dutton (Martin Balsam) tries to help Sam with a few strong-arm tactics, but succeeds only in having the courts take Cady's side in the matter. Things come to a head when Sam moves his family to the "safety" of a remote houseboat on Cape Fear river. Cady shows up unannounced and is about to ravage Bowden's wife and daughter when Sam turns the tables...

Bette Davis is an English nanny whose charge is 10-year-old Joey, just released from a home for disturbed children where he'd spent two years undergoing treatment for drowning his little sister in the bath. Shortly after his arrival home, suspicion arouses again when his mother is poisoned. But Joey continues to insist Nanny is responsible, just as she was with the death of his little sister, with only a neighboring friend believing the young boy.

Comedy about the people who inhabit a small town. For years the overbearing Pavek has endured Otik, the "town idiot," sharing his meals and the front seat of their dump truck. But Otik is such a sweet-natured fool that Pavek, exasperated as he becomes, always relents on his threats to find another partner. This Laurel and Hardy-like pair are at the heart of a comedy which finds humor in an abundance of everyday situations. The town doctor regularly wrecks his car because he's admiring the scenery, a romantic teenager develops a hopeless crush on his sister's schoolteacher, and an adulterous housewife and her boyfriend are just one step ahead of her suspicious, hot-headed husband.

This violent dramatic bloodbath concerns a love triangle in a gay bar in Tokyo. Eddie (Peter) and the transvestite Leda (Osamu Ogasawara) both have sexual designs on bar manager and drug dealer Gonda (Yoshio Tsuchiya). Gonda fears Leda will expose him to the police if he does not give in to his/her advances. When Leda commits suicide, Eddie and Gonda are free to engage in their homosexual yearnings for each other. When Gonda discovers he is Eddie's father, he kills himself with a knife. A distraught Eddie then uses the same knife to cut his own eyes out.

''Le Garcu'' is Mr. Pialat's portrait of a marriage and the man who can't help trying to destroy it. Unfolding with a stark abruptness that suits Gerard's restless and peremptory manner, the film observes the quiet cruelty in his behavior toward Sophie (Geraldine Pailhas), his beautiful, submissive wife. It also sees the narcissistic excess with which Gerard dotes on Antoine (Antoine Pialat), his adored only child. ''Le Garcu'' keenly watches all this without offering violent crises or easy answers. But Mr. Pialat, obliquely insightful and deft, makes up in revealing psychological acuity what his film lacks in high drama.

Gérard voit grandir Antoine, son petit garçon. Il a le sentiment de n'avoir jamais aimé autant et de n'avoir jamais été autant aimé. Il y a Sophie, ses ex-femmes, ses maîtresses... et la vie qui va.

Like certain other films noir, the surprisingly under-recognized Moonrise seems to have escaped excavation and the critical resuscitation of so many comparable, and in many cases, it has to be said, inferior, ‘B’films. Perhaps since it sits distinctly outside its director’s canon this intense, dark and highly original flick seems to have missed its audience. Yet Moonrise remains, along with Night of the Hunter, Cape Fear and Thunder Road, one of the greatest of those unique one-offs that crawl out of the swamps of Southern noir. (Roger Westcombe, crimeculture.com)

"The Fruit of Paradise" is a breathtaking experimental film from Vera Chytilova. Well known for her surreal feminist comedy "Daisies" (1966), Chytlova uses many of the same hallucinatory camera tricks for "The Fruit of Paradise". The film's first 15 minutes is highly psychedelic as it tells the story of creation. There are layers of image on top of image with fast camera cuts. Then it breaks out into a song about Adam & Eve, which is hauntingly catchy. Then the story of Adam and Eve goes to a modern setting. The devil is portrayed as creepy man of middle age; a persistent stalker and serial killer of women. Eva and her boyfriend go on vacation to a health spa, where they encounter temptation. The devil gets Eva to eat the forbidden fruit. Then the film becomes very comical throughout, as the Devil chases adorable Eva everywhere she goes.

Pollet's seminal Mediterranee cuts repeatedly between meditative camera movements around various subjects--Greek ruins, a Sicilian garden, a Spanish bullfight, a woman on a hospital cart, a fisherman--conjuring up a great many mysteries about their relation to one another.