ISMAEL’S GHOSTS
LES FANTÔMES D’ISMAËL
2017, Magnolia Pictures, 135 min, France, Dir: Arnaud Desplechin

Twenty-one years ago, she ran away; now Carlotta (Marion Cotillard) is back from the void. But Ismael (Mathieu Amalric) has been busy rebuilding a life for himself with Sylvia (Charlotte Gainsbourg) and working on his next feature film. As Ismael's trials and tribulations unfurl, so too do those of the film-within-a-film’s protagonist: the idle, funny and reckless diplomat Ivan Dédalus (Louis Garrel), who, in a nod to earlier Desplechin films, is the brother of recurring character Paul Dédalus. With ISMAEL’S GHOSTS, Desplechin returns once more to the past and proves yet again that his brand of genius lies in his ability to find light in the darkest of places. This is the full-length director’s cut of the film, 20 minutes longer and markedly different in tone from the version that premiered at the Cannes Film Festival.


DON’T TORTURE A DUCKLING
NON SI SEVIZIA UN PAPERINO
1972, AGFA, 105 min, Italy, Dir: Lucio Fulci

Although best known for his ultra-gory zombie chunk-blowers, Lucio Fulci directed several superb gialli in the ’70s, many of which rivaled Dario Argento’s in style and aesthetic. When young boys start turning up dead in a countryside town, a news reporter (played by cult icon Tomas Milian) hopes to crack the case. With suspects ranging from a local witch to a nymphomaniac, the real answer may be even more shocking.


ALICE, SWEET ALICE
aka COMMUNION
1976, Warner Bros., 98 min, USA, Dir: Alfred Sole

Karen (Brooke Shields, in her first role) is all set for her first communion. But before the milestone event, she is found murdered - and her older sister, Alice, is the prime suspect. Alfred Sole’s stylish thriller draws from the Italian giallo films and Nicholas Roeg’s DON’T LOOK NOW, mixing psychological horror, mystery and Catholic guilt. Still criminally underseen, it helped baptize the burgeoning slasher-film genre that would explode the following year with HALLOWEEN


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