The Moustache

In a definitive and moving film to mark her 75th birthday, artist and national treasure Maggi Hambling tells her story while working on a mysterious black canvas. Famously scary and a free spirit, Hambling is celebrated for her intensely moving portraits - the blind boxer Charlie Abrew, the lonely clown Max Wall - her Wave painting and Scallop, her signature sculpture on Aldeburgh beach, commemorating Benjamin Britten.

A she-devil holed up in a house in the Dutch dunes waits impatiently for death in "The Last Days of Emma Blank." The bitter irony of Dutch scribe-helmer-thesp Alex van Warmerdam's latest is that Emma's servants are possibly even more eager to see their boss-from-hell expire. More generally off-kilter than deadpan, this technically impressive ensembler from one of the Netherlands' few recognizable names suffers from an uneven tone and did just OK biz at home last May. International premiere at Venice will kick off the usual round of fests, with a possible afterlife in ancillary.

If we never tire of seeing love stories in the cinema, it must be to do with the unfathomable secret of how different times and places play a role in how scripts are written. The love story between the transsexual Mary and Enzo, a Sicilian with a moustache and a heart of gold, started in prison and takes its course in Genoaʼs harbor district, a world that is close to disappearing. Pietro Marcello also sets a parallel plot in the same district, which documents and reconstructs the lives of Mary and Enzo in a simultaneously truthful and fictitious manner……

In his controversial masterpiece The Great Dictator, Charlie Chaplin offers both a cutting caricature of Adolf Hitler and a sly tweaking of his own comic persona. Chaplin, in his first pure talkie, brings his sublime physicality to two roles: the cruel yet clownish “Tomainian” dictator and the kindly Jewish barber who is mistaken for him. Featuring Jack Oakie and Paulette Goddard in stellar supporting turns, The Great Dictator, boldly going after the fascist leader before the U.S.’s official entry into World War II, is an audacious amalgam of politics and slapstick that culminates in Chaplin’s famously impassioned speech.

Stephen Chow is “Sik San,” the self-styled God of Cookery, an arrogant restaurateur who uses his image to launch substandard restaurants and poor quality instant food. He loses it all when he’s betrayed by his employees Ng Man-Tat (unrecognizable with white hair and sans moustache) and Vincent Kok, who becomes the new God of Cookery. At his wits end, Chow lands on Temple Street where he’s saved by the ugly Sister Turkey (Karen Mok), who uses her triad to help him regain his self-respect. They launch a small business marketing Chow’s new “Explosive Pissing Beef Balls.” Eventually, Chow must challenge Kok to regain his title, but not before he heads to Mainland China to learn the cooking fundamentals that he’s sorely lacking. God of Cookery parodies other cooking comedies like The Chinese Feast, as well as giving us the usual Chow themes, i.e. arrogant big shot falls from grace and achieves redemption. As Sik San, Chow doesn’t even have to sweat. He’s played this character time and time again. That said, he does it extremely well and Karen Mok is very good as the ugly Sister Turkey. The ending goes a bit astray, but that’s the only real complaint. A bit more stylishly told than Chow and Lee Lik-Chi’s earlier efforts (a lot of temporal shifting and narrative hijinks go on), this film doesn’t disappoint. It’s a mishmash of all the familiar Chow elements, and darn near perfect as Chow films go.

24-year-old Yammie Lui is a simple and shy girl. Every time she is sad, she will have a hormonal imbalance and she will grow a little moustache above the lips. Yammie has been secretly in love with Tim, a boy she met during high school. She once fell into the swimming pool when following Tim. Tim dived in to save her. Since then, Tim's heroic figure has been carved in Yammie's mind. Hugo, a BBQ restaurant owner, who has never been in love before, helps Yammie search for her teenage love only to witness numerous "miracles of love". With the help of the twosome–Hugo and his dog, encountering miracles after miracles, Yammie finds her long lost love, Tim.

The Overcoat is a 1959 Soviet film directed by Aleksey Batalov, based on Nikolai Gogol story "The Overcoat".
The story centers on the life and death of Akaky Akakievich Bashmachkin, an impoverished government clerk and copyist in the Russian capital of St. Petersburg. Akaky is dedicated to his job as a titular councillor, taking special relish in the hand-copying of documents, though little recognized in his department for his hard work. Instead, the younger clerks tease him and attempt to distract him whenever they can. His threadbare overcoat is often the butt of their jokes. Akaky decides it is necessary to have the coat repaired, so he takes it to his tailor, Petrovich, who declares the coat irreparable, telling Akaky he must buy a new overcoat.