Police+story+/+ging+chaat+goo+si+(1985)

The true story of a young couple (Babis and Eleni) fighting for love and freedom. An odyssey in and out of prisons during the dark period between the Greek civil war until the end of dictatorship in 1974. In 1954 Eleni goes to Athens to study medicine. When political oppression increases, Babis is imprisoned for political activity. To avoid the same fate Eleni hides for ten years. In 1966 Babis is released and they enjoy their love for a few days. She gets pregnant. Then she is arrested and gives birth to her child in prison. In 1967 the military junta overthrows the government and Babis is imprisoned again. They are released after the fall of the junta in 1974. They realise that in all those years they had spent only 70 hours together. The narration is honest without superficial emotionalism and focuses on the dignity of the characters against the stormy political history.

The Central Office of Information (COI) was established in April 1946 and has produced thousands of films that reflected the culture and concerns of the nation. Volume one of the COI collection tackles crime, juvenile delinquency, policing and the justice system. A variety of styles and genres – story documentary, drama, public information shorts – are employed to deliver crime prevention messages and bolster recruitment in this area. The wonderful selection of films on this two disc set have been newly transferred to high definition from the original film elements. An accompanying booklet provides comprehensive notes and essays from academics and film historians.

A school boy finds a time machine and he helps Alisa, a scientist girl in the future, to save a mind-reading device from space pirates. Chased by the pirates and followed by Alisa he saves the device bringing it back to his own time.

A school boy finds a time machine and he helps Alisa, a scientist girl in the future, to save a mind-reading device from space pirates. Chased by the pirates and followed by Alisa he saves the device bringing it back to his own time.

An unseen woman recites Shakespeare's sonnets - fourteen in all - as a man wordlessly seeks his heart's desire. The photography is stop-motion, the music is ethereal, the scenery is often elemental: boulders and smaller rocks, the sea, smoke or fog, and a garden. The man is on an odyssey following his love. But he must first, as the sonnet says, know what conscience is. So, before he can be united with his love, he must purify himself. He does so, bathing a tattooed figure (an angel, perhaps) and humbling himself in front of this being. He also prepares himself with water and through his journey and his meditations. Finally, he is united with his fair friend.

A group of reclusive humanoid bears and a few trusted humans explore their lost heritage and prevent their enemies from exploiting it.

A group of reclusive humanoid bears and a few trusted humans explore their lost heritage and prevent their enemies from exploiting it.

A group of reclusive humanoid bears and a few trusted humans explore their lost heritage and prevent their enemies from exploiting it.

Nick is a writer in New York when he gets posted to a bureau in Greece. He has waited 30 years for this. He wants to know why his mother was killed in the civil war years earlier. In a parallel plot line we see Nick as a young boy and his family as they struggle to survive in the occupied Greek hillside. The plot lines converge as Nick's investigations bring him closer to the answers.

With his third feature film, The Lodger: A Story of the London Fog, Alfred Hitchcock took a major step toward greatness and made what he would come to consider his true directorial debut. This haunting silent thriller tells the tale of a mysterious young man (matinee idol Ivor Novello) who takes up residence at a London boardinghouse just as a killer known as the Avenger descends upon the city, preying on blonde women. The film is animated by the palpable energy of a young stylist at play, decisively establishing the director’s formal and thematic obsessions. In this release, The Lodger is accompanied by Downhill, another silent from 1927 that explores Hitchcock’s “wrong man” trope, also headlined by Novello—making for a double feature that reveals the master of the macabre as he was just coming into his own.