The Strange Case of Angelica (Portuguese: O Estranho Caso de Angélica) is a 2010 Portuguese drama film directed by Manoel de Oliveira. It was entered into the Un Certain Regard section of the 2010 Cannes Film Festival. De Oliveira conceived the idea for the film in 1946 and initially wrote the script in 1952, updating it with modern elements
Broken Flowers is a 2005 French-American comedy-drama film written and directed by Jim Jarmusch and produced by Jon Kilik and Stacey Smith.
8½ (Italian title: Otto e mezzo [ˈɔtto e mˈmɛddzo]) is a 1963 semi-autobiographical comedy-drama film directed by Federico Fellini. Co-scripted by Fellini, Tullio Pinelli, Ennio Flaiano, and Brunello Rondi. Shot in black-and-white by cinematographer Gianni di Venanzo, the film features a soundtrack by Nino Rota.
Its title refers to it being Fellini’s eighth and a half film as a director. His previous directorial work consisted of six features, two short segments, and a collaboration with another director, Alberto Lattuada, the latter three treated as “half” films. The plot concerns a director (played by Marcello Mastroianni) who suffers from stifled creativity as he attempts to direct an epic science fiction film.
8½ won the Academy Award for Best Foreign Language Film and Best Costume Design (black-and-white). Acknowledged as an avant-garde film and a highly influential classic.
L’Année dernière à Marienbad (released in the US as Last Year at Marienbad and in the UK as Last Year in Marienbad) is a 1961 French-Italian film directed by Alain Resnais from a screenplay by Alain Robbe-Grillet.
Shame is a 1988 Australian film directed by Steve Jodrell and starring Deborra-Lee Furness as … and vigilante like, however it was not used. The movie was shot over six weeks on location at Toodyay in Western Australia on Super 16mm.
The corridor fight scene took seventeen takes in three days to perfect, and was one continuous take — there was no editing of any sort except for the knife that was stabbed in Oh Dae-su’s back, which was computer-generated imagery. Though the scene has often been compared visually to side scrolling beat ’em up video games, director Park Chan-wook has stated that the similarity was unintentional.