LET THE RIGHT ONE IN
LÅT DEN RÄTTE KOMMA IN
2008, Magnet Releasing, 114 min, Sweden, Dir: Tomas Alfredson

“I'm twelve. But I've been twelve for a long time.” It seems that lonely, bullied boy Oskar has finally found a soulmate when Eli moves in next door. She’s a strange young girl, who only comes out at night … and whose arrival coincides with a series of inexplicable disappearances and murders. It doesn't take Oskar long before he figures out that Eli is a vampire, but he cannot bring himself to forsake her; in return, Eli gives him the strength to fight back against his aggressors. Set in early-1980s Sweden, this modern horror classic weaves friendship, rejection and loyalty into a disturbing and darkly atmospheric, yet poetic and unexpectedly tender tableau of adolescence. You’ll never forget the climatic swimming pool scene!


MAD LOVE
1935, Warner Bros., 68 min, USA, Dir: Karl Freund

“Dead hands that live ... and love ... and kill!” It's macabre shenanigans involving amputated hands as Grand Guignol theater star Yvonne Orlac (Frances Drake) goes to brilliant - but crazy - surgeon Dr. Gogol (Peter Lorre) as a last resort when her concert pianist husband, Stephen (Colin Clive, of FRANKENSTEIN), has his hands mangled in a train accident. Gogol, insanely in love with Yvonne and willing to do anything to steal her away, transplants the hands of a guillotined murderer onto the comatose Stephen. Counting on the highly suggestive nature of the neurotic pianist, Gogol makes him believe he also possesses the dead killer’s personality. An intense, delirious adaptation of French writer Maurice Renard’s oft-filmed novel The Hands of Orlac.


LOVE & ANARCHY
FILM D'AMORE E D'ANARCHIA
1973, Kino Lorber, 125 min, Italy/France, Dir: Lina Wertmüller

Lina Wertmüller and her co-stars from SWEPT AWAY, Giancarlo Giannini and Mariangela Melato, reteam for a brilliant drama about a simple-hearted assassin who comes to Rome to kill Mussolini, only to fall in love with a vulnerable young prostitute. Wertmüller turns Salome's whorehouse into a stunning metaphor for Italy in the late 1930s - a house riddled with compromise and intrigue, rouged and painted on the outside but bleeding on the inside.


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