Directed by Kiumars Poorahmad , The Night Bus (Otobus-e Shab) , one of the successful movies in recent years of Iranian Cinema. The film, which is in sharp monochrome, relates the story of a twenty-four-hour-long journey of two young Iranian soldiers (Issā and Emād) and a civilian driver (Amu Rahim) transporting thirty-eight Iraqi prisoners of war, taken from behind the Iraqi line, to a garrison inside Iran.

Leonard Maltin Review: 3.0 stars out of 4. Modern-day screwball comedy with impish Streisand making life miserable for stuffy musicologist O'Neal and his fiancée (Kahn, in feature debut), becoming involved in mixup over stolen jewels. Great comic chase scenes highlight overpowering farce, Bogdanovich's bouquet to 1930s Hollywood (and BRINGING UP BABY in particular). Look for John Byner and Randy Quaid at the hotel banquet.

Stark, stylistically directed, fact-based story of a dreamy, intense 15-year-old girl (Mouchet) and her desire to become a Carmelite nun, to be wedded to Christ. Winner of six Cesar Awards, including Best Picture. Remake of the 1938 film THERESE MARTIN.

Leonard Maltin Review: 3.0 stars out of 4. Lost in wilderness of Australia, two children rely on young aborigine in order to survive. Roeg, in his first solo outing as director, also beautifully photographed the film; lush score by John Barry.

Eldorado, a fictitious country in Latin America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.

In this highly acclaimed work, Edward Said surveys the history and nature of Western attitudes towards the East, considering Orientalism as a powerful European ideological creation – a way for writers, philosophers and colonial administrators to deal with the ‘otherness’ of Eastern culture, customs and beliefs. He traces this view through the writings of Homer, Nerval and Flaubert, Disraeli and Kipling, whose imaginative depictions have greatly contributed to the West’s romantic and exotic picture of the Orient. In his new preface, Said examines the effect of continuing Western imperialism after recent events in Palestine, Afghanistan and Iraq.

“This survey of Italian cinema by Martin Scorsese is a worthwhile follow-up to his 1995 documentary A Personal Journey Through American Movies. Packed with insight and film clips, Voyage covers Italian cinema from World War II through the early '60s, the time that the young Scorsese watched these films before starting his career. The heart of the documentary is the Neo-Realism movement – not the lightest of genres, but Scorsese's passion helps considerably. He introduces us to his family and Sicilian ancestors via photos and home movies allowing us to understand how powerfully these films affected him and his family. He talks about how he saw the films, often through inferior prints on television, and calls out details to observe. The filmmaker spends upwards of 15 minutes on a single film, with the bulk of the history centering on five powerhouse directors: Roberto Rossellini (“Open City”), Vittorio De Sica (“The Bicycle Thief”), Luchino Visconti (“Senso”), Federico Fellini (“8-1/2”), and Michelangelo Antonioni(“L'Avventura”).

Scorsese's four-hour-plus survey should come with a college credit for film history. He examines the major films but also spends time on films that may be hard to find on home video (at least at this time): Rossellini's six-part “Paisan”, a heart-breaking look at the last days of the war; De Sica's episodic “The Gold of Naples”; Fellini's atypical “I Vitelloni”, which was a major influence on Scorsese's own “Mean Streets”; Antonioni's “Eclipse” with its radical ending; and Rossellini's “Voyage to Italy”, an examination of a marriage that failed worldwide as a film but was a touchstone for the French New Wave movement. The final results are not as accessible as “Personal Journey” but, at worst, a viewer will have working knowledge of more than 20 Italian films (and be able to cheat their way through a discussion). At best, these are four hours that will end too soon and leave you hungry to view these films that have fueled Scorsese's cinematic vision.”

Doug Thomas, Amazon.com

Seized and burned by Alexander the Great's conquering army, shaken by uncounted earthquakes, eroded by 25 centuries of rain, fluctuating temperatures and scouring winds, Persepolis-the greatest of the royal residences of ancient Persia-is a definitive ancient ruin.
A Beautifull using of Live and CGI Technics.

Panorama Audience Award from Berlin International Film Festival 2008.
Salma Zidane lives in a tiny Palestinian village on the West Bank. She is 45 years old and a widow. Her children have left home, and she is alone. When the Israeli minister of defense builds a house on the other side of the green line, Selma's lemon trees come to the attention of his bodyguards. Her trees are a security risk. They can hide terrorists and impede the bodyguards in their work. In any case, these Palestinian lemon trees simply get in the way of the powerful Minister's superior security needs. The lemon trees were planted by Salma's family many generations ago–they are synonymous with Salma's family history. Salma gets herself a lawyer. But Ziad Daud is up against a battery of clever military lawyers, all of whom are covered by the top brass. It's an unfair battle, that isn't made any easier when the 45-year-old widow falls in love with her lawyer, a divorcee ten years her junior–a scandal as far as her Palestinian neighbors are concerned. On the other side of the grove, Salma's struggle to keep her trees has not gone unnoticed. The defence minister's wife, who has become more and more lonely and unhappy as her husband's political career has blossomed, feels increasingly drawn to Salma as the unfair battle between her husband and their Palestinian neighbors drags on. An invisible bond connects these two very different women who find themselves on the brink of a new phase in their lives.