Palma, Rossy De

Talk of Angels

TALK OF ANGELS -- starring Polly Walker (ENCHANTED APRIL, EMMA), Vincent Perez (QUEEN OF THE DAMNED, I DREAMED OF AFRICA), and Academy Award(R)-winner Frances McDormand (FARGO, Best Actress, 1996; ALMOST FAMOUS) -- tells the powerful story of passion and forbidden desire set in a country boiling at the brink of civil war! A beautiful young Irish governess, Mary (Walker), leaves home and travels to Spain to work in the residence of a wealthy family strained by conflicting political allegiances. Swept away by her new surroundings while being threatened by the turmoil of the times, Mary eventually finds a different kind of danger: the inescapable attraction she shares with the fiery, handsome ... and married ... son (Perez) of her employer! In an unforgettable motion picture acclaimed by critics for its vivid storytelling and superb cast, Mary must ultimately face a difficult choice where following her heart means betraying a family she has grown to love!

Women on the Verge of a Nervous Breakdown

Spanish director Pedro Almodovar created a fiery sensation with this nutty screwball comedy, about a slightly unbalanced actress in a desperate situation. "Women on the Verge..." was Almodovar's international breakthrough film, and is one of his best loved.

Ready to Wear

Robert Altman's much-anticipated broadside at the world of fashion is a disappointment. The film's crazy-quilt Nashville-like narrative structure and ensemble casting (Julia Roberts, Tim Robbins, Lauren Bacall, Marcello Mastroianni, Sophia Loren) are a thing to behold, but the story's many interlocking pieces lack overall depth and resonating emotion. There is a grand, satiric statement about fashion and society at the end of the film, and there are hints of an aging, nostalgic filmmaker's skepticism about our postmodern world of short-lived attachments and meanings. But watching this film is a long, long uphill climb, with a lot of thin air to endure before arriving at a destination. --Tom Keogh

A glittering Hollywood all-star cast shines in Robert Altman's deliciously sexy comedy hit READY TO WEAR! At the world's hottest fashion show, there's been a murder. Now, everybody's a suspect -- including two guests who end up sharing much more than a hotel room! Add to the fun a hilariously inept TV reporter on the trail of her most shocking interview yet! They're all caught up in the year's biggest see-and-be-seen events -- where steamy scandals and spectacular supermodels turn up the heat in a riotous show of high-fashion hilarity.

The Flower of My Secret

Pedro Alomodóvar made this misfired, rambling comedy about a romance novelist (Marisa Paredes) whose crumbling marriage has left her depressed and unable to work. At a low point, she writes a scathing indictment of her own books (which are penned under another name), with no one realizing critic and author are one and the same. Almodóvar (Law of Desire) has the start of a great idea here, and for once, he's direct about his sympathy for a character. But nothing else about The Flower of My Secret is so clear. Despite its unusual allegiance to the straightforward "women's films" of the 1950s, this movie blows it by becoming needlessly complicated over extraneous junk, forcing one to grope in the dark for Almodóvar's point. --Tom Keogh

20 Centimeters

With an "Almodovarian" twist and the flamboyance of The Adventures of Priscilla, Queen of the Desert , director Ramón Salazar's 20 Centimeters tells the story of Marieta (Mónica Cervera) a narcoleptic, transsexual who longs to get rid of 8 inches of equipment that separates her from being the glamorous woman she dreams to be. When she accidentally falls asleep in the most inopportune times, Marieta's dreams become lavish and colorful musical numbers, where as a real woman she can sing in Spanish, French & English. So cue up the lights, powder that face and slip on that sexy gown because Marieta's dreams are about to come true...

Tie Me Up! Tie Me Down!

Spain released, PAL/Region 2 2-DVD Boxset: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada. Languages: o English (subtitles) o French (subtitles) o German (subtitles) o Spanish (subtitles) o Spanish (Dolby Digital 5.1) Synopsis: Pedro Almodóvar takes an warmly unorthodox look at relationships in Tie Me Up! Tie Me Down!, a romantic comedy with a plot similar to William Wyler's thriller The Collector. Despite the tawdriness indicated in the title, this is not just a steamy tale of kinky sex practices, but rather a dark comedy with a compelling relationship at its center, both characters literally struggling for power and desperate for love. Rather than populate the film with tons of zany, colorful characters like in his previous films, Almodóvar chooses to let the camera focus on the two attractive leads, each possessing a strong screen presence. Antonio Banderas broods with boyish passion as dull-witted mental patient Ricky, showing enough vulnerability to make him adorable. His behavior is shown as a result of his lovesickness, coupled with a complete lack of subtlety. Veteran actress Victoria Abril brings enough strength to the character of Marina to make it faulty to dismiss her as just a victim. Keeping the action confined to Marina's bedroom in lclose-up shots with a swelling musical score from Ennio Morricone, the film feels more like a '50s romantic drama than the shocker its critics claimed it to be. Though it received a public outcry and an NC-17 rating upon release, this love story of a kidnapper and victim is surprisingly told with compassion. One of Almodovar´s most acclaimed comedies, Tie Me Up! Tie Me Down! features explicit scenese of sexuality that created worldwide controversy. Special Features: o Biographies o Cast/Crew Interview(s) o Collectors Edition o Commentary o Filmographies o Interactive Menu o Music Video o Photo Gallery o Scene Access o Special Edition

Perhaps only Pedro Almodóvar could come up with a story about a mental patient who stalks and kidnaps an ex-porn star--and turn it into a tender love story. But that's exactly what happens in Tie Me Up! Tie Me Down!, a lively installment from the Spanish director's wacky middle period (after the scruffy early films, and before his mature melodramas). Two of Almodóvar's sexiest stars, Antonio Banderas and Victoria Abril, play the leads: a cracked young man with dreams of bourgeois domesticity, and an actress who used to specialize in porno and heroin. Despite that fact that he binds her limbs with cord when he leaves the house, he always returns with a cheerful "I'm home!" For all Almodóvar's outrageousness, there's a touch of classical Hollywood in his construction. And while this movie is not for the politically correct, it does play by its own warped rules. --Robert Horton

Tie Me Up! Tie Me Down!

Perhaps only Pedro Almodóvar could come up with a story about a mental patient who stalks and kidnaps an ex-porn star--and turn it into a tender love story. But that's exactly what happens in Tie Me Up! Tie Me Down!, a lively installment from the Spanish director's wacky middle period (after the scruffy early films, and before his mature melodramas). Two of Almodóvar's sexiest stars, Antonio Banderas and Victoria Abril, play the leads: a cracked young man with dreams of bourgeois domesticity, and an actress who used to specialize in porno and heroin. Despite that fact that he binds her limbs with cord when he leaves the house, he always returns with a cheerful "I'm home!" For all Almodóvar's outrageousness, there's a touch of classical Hollywood in his construction. And while this movie is not for the politically correct, it does play by its own warped rules. --Robert Horton

The Loss of Sexual Innocence

At turns both mesmerizing and frustrating, Mike Figgis's 1999 experimental feature interweaves an audacious dramatization of the Adam and Eve myth with autobiographical vignettes from the director's life. In Figgis's golden rendering of the Genesis tale, the first humans are a black man (Femi Ogumbanjo) and a white woman (Hanne Klintoe), who emerge one day, fully formed, from a lake, and regard each other with playful wonder. They discover, like children, their anatomical differences, and explore the surrounding green paradise until coming upon the tree of knowledge. From this they eat and almost instantly reevaluate one another with a steely lust. Thus their, and our, fabled fall from grace ends in the mire of sexual possession and walled-off feeling, a tragedy that Figgis (Leaving Las Vegas) uses as a touchstone for the contemporary story of a filmmaker named Nic (Julian Sands). Nic's own youthful experiences with various kinds of formative humiliation, including finding his teenage girlfriend in bed with his best friend, are presented as flashbacks meant to resonate with his marital unhappiness today. Less clear are other moments out of time that don't particularly connect with Figgis's major theme, especially an odd development in which twin sisters (both played by Saffron Burrows), each unaware of the other's existence, have a fleeting, worlds-are-colliding encounter at an airport. Figgis also reaches into a grab bag of Nic's other old sorrows, things that don't uniquely inform or enhance the film's point, and muddies things up a bit. But the sheer hubris of marrying a myth with a memoir carries the day here, and Figgis leaps the hurdle of potential self-parody with a certain courage. --Tom Keogh

Accion Mutante

Kika [Region 2]