Film List: Agnes Varda

Is there an icon of cinema that was as popular as the Belgian-French director? Check out the interviews, Agnes Varda with her crazy charm! She only directed eight "feature films" - depending on what you mean by "narration". The last one was called "Kung Fu Master" (1987), in which her own son experiences a love story with Jane Birkin. Fortunately, Varda wasn't a filmmaker for our parents. She was very provocative! What was it like in "Le Bonheur" (1965)? Romantic happiness is promiscuous? Or "Vagabond" (1985)? A film about a young nihilist who rebels against everything and everyone. Until her time is up. Whoever readsardas biography will notice that she comes from the working class. She did study, but didn't like it. Then she began as a photographer at weddings. Her first movie "La Pointe Courte" allegedly cost only 14,000 Francs at the end of the 50s. State cinema looks different! It's the work of a filmmaker who works against conventions - simply because she doesn't even know conventions. And Varda lived "normally" quite soon. She met Jacques Demy and became a mother. Varda and Demy are certainly the greatest romantics of French cinema! Or are they not? Demys "Lola" (1960), "Bay of Angels" (1962) and "The Umbrellas of Cherbourg" (1964) - all wonderful! Varda filmed differently. In "Cleo von 5 bis 7" (1962), a pop star waits for a decisive medical diagnosis. A superficial blond person. Does she become a deeper person while waiting? Probably not. And who saw "Les Creatures" (1966)? Catherine Deneuve plays a pregnant woman who can withstand the pressure of her husband, the pressure of life. Varda was of course also a leftist. A whole series of political short films from the late 60s and the feminist "One Sings, the Other Doesn't" (1977) bear witness to this. Finally, Vagabond is considered Vardas' masterpiece. That was in 1985. A merciless film about how to fall without support and security. Extinct. Vardas late work covers the last 30 years. Above all she staged personal essay films - about herself and Jacques Demy. I think she was a free woman. So free that we don't even know much about her. None of her films are commercial! You can feel that they were all made out of love for cinema! And although Varda herself appeared so disarmingly cheerful, she made deadly films like Vagabond and Le Bonheur. To find out who she actually was, we should march straight into the cellar of our Filmkunstbar Fitzcarraldo Fitzcarraldo. There are two big Varda boxes (UK Import) and a nice DVD version of Le Bonheur (my brother had brought me from Paris once). After a Varda show we definitely know more!

In Berlin Cinemas: Jean-Luc Godard - The Image Book

JLG - as he now calls himself - is 88 years old and has been making films for 60 years. Films that are bulky and with every new Godard we ask ourselves: Is he a little less stiff this time? The Image Book begins with the recording of a hand. The fingers point upwards. It lies on an old-fashioned video editing table. Then a few hands on a cutting table from the 20th century. And then some who write on paper. The rise of the image and the fall of the word. There is no more information, instead a flood of "content". Amen. Connections are made between the colonial period and the Holocaust. And of course there are many film excerpts (are these "trains of thought"?). Footnote: JLG is one who romanticizes the Arab world as much as my father's generation during the 60s: "Let's go to Kabul! That's a beautiful aspect, isn't it? But now the question I ask myself with every Godard film that appeared after 1980. Oh what, after 1970! Nonsense, after 1965! What is it all about? Of course, JLG is a luminary. A man with connections. While he was honoured in Cannes, he simply put an actor on his stage chair. He enthroned himself in the audience. And he conducted a press conference via iPhone. JLG is quite a modern grandpa! And The Image Book? The film loves simplification. A free meditation on language and images and the extinction of certain cultural techniques. Or? And the exotic promised land (the Arab world). It seems to me that The Image Book keeps falling apart. Maybe JLG is trying to keep his material together. But he fails. There are filmmakers who work with similar techniques and hit the bull's eye. But Godard's essay film leaves me cold. Often cleverly done, but opaque. Actors don't appear at all. The Image Book is about monuments stacked on monuments and thoughts packed on thoughts. None of it is completed. This should not deter the Godard disciples of our video store. Those who borrow his early work with shining eyes. After all, nothing in The Image Book looks like old age or routine! Sometimes he even seems to have used coarse-grained YouTube clips. Who knows, maybe this is the future? The YouTube movie? And if everything is "content" and "data", it doesn't matter! And JLG? I did a test once: I watched old movies of him and directly afterwards movies of the hated "Rene Clement" from the same time. I liked Godard's specially chosen ore enemy at least as much. Ätsch!
Translated with www.DeepL.com/Translator

Film List Stand By Me

a video store recommends good movies. That's why we exist. The big Internet players can do that with algorithms and we with people. And since we have 2019, we also offer it on the Internet. Therefore I write on our page cinegeek film lists to recommend films. Films that fit together. Question: Which films fit Stand By Me?

In Cinemas: Harmony Korine - The Beach Bum

What happened in America in 2016? It was the same: The Americans elected a German president. Correctly, a president of German descent - but these are only secondary facts. Like every good German, this president loves fences and walls. Surely the Americans didn't know that even in Kreuzberg there are miles of fences. Even around street trees. Germans like the US president eat a lot of meat and then look like a meat loaf (and explode in front of testosterone). And above all they suffer from "German Angst". Just like all of America with the German president since 2016. They are afraid of their neighbors - above all. Short and sweet; in 2016 America's backbone broke. And the reaction of Harmony Korine's The Beach Bum? Everything MUST be in order! If you need to, you have to look for a few happy moments. Outside the world collapses, but before that we smoke one with Snoop Dogg and Jimmy Buffett. Everything that counts, that is exclusively what counts for YOU. Mannomann! "He may be a jerk, but he's a great man"; that's what the daughter says about her father. Is it about the German president again? No. That's how Heather (Stefania LaVie Owen) describes her father Moondog (Matthew McConaughey). A carefree pothead poet who runs around half-naked most of the time. The poet sleeps on the beach or in the villa of his wife Minnie (Isla Fisher). Of course they have an open relationship. That's an understatement. But their sex is great (when Moondog and Minnie are together). And what happens next? Well, Moondog is torn from his comfortable world and travels. And his daughter is right; Moondog is an idiot. He's only ready for a party on Saturday night, but otherwise socially incompetent. Nevertheless he has a big heart and cares. The Beach Bum looks like a movie party in the house of Snoop Dog. But in some moments Korine transcends the events. What's behind it? Above all, however, The Beach Bum is a cute movie with great songs that always start at the right moment (like when Minnie and Moondog dance together). Fortunately no angry film about the state of America 2019. A sweet and funny film!

FREE ON YOUTUBE Werner Herzog - Jeder für sich und Gott gegen alle

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) I have the following theory about Werner Herzog, that in none of his films does the acting matter. Better still, it's not PLAYED. Herzog finds actors who embody the essence of his characters. He studies this essence in film with the greatest possible intensity. Take Bruno S., the "star" of the early Herzog films. The son of a prostitute was locked away for over twenty years in a closed institution (according to Wikipedia). Although he was never crazy, as Herzog believes. Bruno is a stubborn man. A simple one with the charisma of a child. One who can move us. He IS Kaspar Hauser. He does not look at us. He looks through us. Can Bruno S. play other roles than Bruno S.? Probably not. Look at the bonus materials. Herzog pretends to have been criticized in Germany for exploiting Bruno S.. Is that true? Certainly. The story of Kaspar Hauser is real. He was found in 1928. He clasped the Bible and a letter. For twenty years a kidnapper held him prisoner in the cellar. Does that look familiar? A nice couple adopts him and he learns to read and write. And even playing the piano (the real Bruno plays - as we see in "Stroszek" - accordion). For Kaspar every day is a secret. "It dreamt me..." Herzog hardly distinguishes between reality and fiction. Faithfulness to facts does not interest him, only effect. No linear story is told. Instead we get impressions. Or insertions like the stork that picks the worm. Images that only indirectly have to do with Kaspar. It's never about solving Kaspar's secret. On the contrary; the secret is the very captivating thing about him! I still remember how my then colleague in the video store, Thomas Groh, was invited to an interview with Werner Herzog, Thomas was sooo nervous! How would Herzog react to his questions? One heard bad stories. One who imagined the inner life of the blind and dumb and dwarves. And of Kaspar. Personalities who are not the prisoners of these attributes. No, they are liberated people, thanks to these attributes! This is the world of Werner Herzog and Thomas was invited to enter it. We were all sooo nervous. Fortunately Herzog answered like a gentleman. In his nasal timbre. I myself have always understood his feature films in the same way as his documentaries. In the feature films he used actors as instruments. The way he found them. He documented her personality. In his greatest films like "Everyone for himself and God against all" the actor and figure are congruent. Duke Kaspar Hauser is a wonderfully lyrical film about man, who is probably the least lyrical himself. Kaspar enters a dream world (= our world). He escaped his reality, that of the cellar. Kaspar had never dreamed in the cellar. Of what? "Everyone for himself and God against everyone" summarizes Kaspar's thinking. A poor worm that dreams to fly. Just like all of us, don't we?

FREE ON YOUTUBE Berlin Calling

How much Berlin does a Berlin film actually need? Hannes Stöhr offers locations like the Eastside Gallery, the Oberbaumbrücke and the Alex. He also shoots in two clubs: Bar 25 and Maria am Ufer. But most of the action takes place in the closed department. Although the techno movement wasn't fresh anymore in 2008, Berlin Calling delivers a nice portrait of Techno City (and punishes the lies of those who saw the sell-out back then). Berlin Calling, a swan song? More likely a misunderstanding, because a movement is shifting and meanwhile there are good clubs even in Tegel! So here comes the typical DJ, recording samples with his mobile in the S-Bahn and thus creating the soundtrack of the city. Usually musician movies are about Englishmen or Americans and play in the "good old days". Probably no genre is more conservative than the music film of all things! But Berlin Calling doesn't play in the deepest "once upon a time", but here and now! Hannes Stöhr may feel like a pioneer, because he brought techno to the screen! His big theme is genius and madness and that leads to the mental hospital. The DJ and patient is called Ickarus with ck and is played by Paul Kalkbrenner. How much Kalkbrenner is in Ickarus? I suppose, a lot! To understand the picture, you don't have to be very well versed in Greek antiquity. Let's simply exchange the sun for the mirror ball, because after all Ickarus rarely experiences the real sun. It turns night into day and that worldwide. Stöhr comes from Hechingen-Sickingen and has nevertheless made two formidable Berlin films. Here he shows the city from the inside and that's why the Bar 25 hosted parties especially for the film. The camera is allowed to slide through the dancing crowds and gets one of those rare moments that most people only remember darkly the next day. How I would like to have some such pictures from the film art bar Fitzcarraldo! Stöhr, one reads, had known Kalkbrenner for some time and finally persuaded him to play Ickarus himself. Consistently this has remained his only role so far! Ickarus calls Kalkbrenner his own demon; a guy who wants to go where Kalkbrenner is today. A guy who wants to go where every second person who lashes here through the Reichenberger also wants to go, I sometimes think.

FREE ON YOUTUBE Barfly

Charles Bukowski is the poet of the Skid Row. Almost hopeless to bring his art closer to those who do not want to understand him. Until he was 50, Bukowski moved through L.A., staying in countless bars with countless women. They were all cheap, expensive, bad or good - depending on and in any variations. Barfly invites us for the length of a feature film to take a seat in his universe. At least for a few days, which according to Bukowski's standards belong to his better ones. So here we are in a run-down bar. The same drinkers take their places every day and stay there. Nobody seems to be interested in the other and yet everyone knows everything about everyone. Regular guest is also Henry (Mickey Rourke), Bukowski's alter ego. A drinker and sometimes also a poet. The bartender hates Henry for the same reason why every bartender in such a dive hates his customers: He has to serve such a loser without the prospect of a significant tip. Herny and the bartender go out into the yard for a fistfight. Herny pockets, spits blood and takes another drink. For him everything is quite normal. One day Wanda (Faye Dunaway) is sitting at the other end of the bar. She looks like a woman with class, who belongs exactly in this bar - and yet not. A drinker with style. Herny and Wanda talk. It quickly turns out that Henry is broke. She invites him to her home. All the dialogues of Rourke and Dunaway in Barfly are pure pleasure; but the exchange of blows this night - pure poetry! She explains that she always makes the worst decisions when she's drunk. Of course. The next day a beautiful girl (Alice Krige) comes to the bar Henry is looking for. She writes for a literary magazine. Both go to her home, drink, flirt, just live side by side. When the beautiful girl visits the bar again, Wanda is already there. This time they don't live next to each other. Basically that's what Barfly is about, a film that doesn't need a plot worth mentioning. Barfly springs from the world of the drinkers, in which one step does not necessarily lead to the next. Between the hangover afterwards and before the next booze everything can happen. Barbet Schroeder made the film after one (the only one!) of Bukowski's original screenplays. For eight years Schroeder worked on it, according to Bukowski's Hollywood (not the "novel to the film", but a kind of genesis) Schroeder even walked into the office of his producer to cut off a finger with a carving knife. Or maybe even the producer? Schroeder never tries to impress us with his artistic finesse. Instead, he simply films the script - but with a lot of love for every detail! The result: A very American film, although one like no other! Barfly shows the people we never notice, with whom we never come into contact. That alone makes him a little classic!

FREE ON YOUTUBE Carl Thoedor Dreyer - The Passion Of Joan Of Arc

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) During the silent movie era the filmmakers believed they could show the essence of a character through his eyes. Dreyer shows us the face of Renee Maria Falconetti - an experience to understand the entire era of silent film. Falconetti was discovered by Dreyer on the stage of a Paris boulevard theatre. She only appeared in one film, called The passion of Joan of Arc. Although Dreyer saw her in a light comedy, he did screen tests and found what he hoped for: simplicity, truthfulness and suffering. In Kobenhagen you can see the unusual buildings Dreyer had made for the film in the museum today. Dreyer asked for a single piece with movable walls for the cameras, four towers and some chapels as well as the court. Everything seems disharmonic, but no wonder, because Dreyer's film was made at the height of German Expressionism and the Parisian avant-garde. While we experience the story of the simple woman from the country who, disguised as a boy, leads the French troops against the British enemy, we never see the whole set in the film, always only parts of it. Dreyer's editing is equally astonishing, as it doesn't put the characters in relation to each other, but often tries exactly the opposite. Dreyer's film seems more like a series of single pictures. Often they contrast; thus we see the face of the inquisitor in glistening white, while that of Jeanne appears in soft grey. Her impassive face suggests that everything that happens leaves the movie far behind. We can't expect any answers. Dreyer's technique of focusing her face in this way avoids the genre of the historical drama, the epic. That's why he is never interested in the costumes (although they are authentic). All the expression of the film, we find it in Falconetti's face! Our affection for Jeanne, she grows into monstrosity by hoping to discover so much mystery and passion in her eyes. The images of the film resemble her feelings, they seem cold, exhausted, almost starved. Maybe that's Dreyer's secret: The passion of Joan of Arc is a film about the nightmare of their emotional world - and nothing else.

Film List Beale Street

Director Barry Jenkins' trademark: his protagonists look into the camera. Technically, the lovers from Beale Street penetrate each other with intimate glances. But in the following they also look at us. There are moments when they seem to fly - love-drunk. Beale Street, however, never leaves the ground of hard reality. It's always present and waiting to break the spell. This is exactly the difference to "white" love films.

FREE ON YOUTUBE Ozu - Floating Weeds

My job as a video store is pretty simple. Anyone who's undecided, but looks like he really loves movies, gets Ozu. Ozu is the gentlest of all directors! He is the most humanistic and the most left! But nevertheless the emotions in his movies are deep! They reflect what is most important to us in life: parents and children, marriage or a life alone, illness and death. To take care of each other. For many years Ozu was hardly known outside Japan. In Germany, the nation of compulsively funny comedies, he is still a stranger today. He is considered "too Japanese". But Ozu is universal! It is of course impossible to filter out the greatest of all Ozu films. His work as a whole is of consistently high quality! As a rule, his stories span two generations (at least). All Ozu films are family dramas. The feelings of the protagonists are only lived out openly in very few scenes and the most important decisions are never made - only hinted at. Ozu knows how to reconcile our selfishness with the needs of others. I think that's what we learn in his films. I've certainly seen Floating Weeds ten times. For comfort or to relax. I mean really relaxing, not just snacking sweet stuff in front of the TV! The characters in it are old friends to me. It's not a sad story. The main character is an actor. One with a healthy ego. But then he realizes that others also have their will. He is stubborn, funny and finally touches us. His name is Komajuro (Ganjiro Nakamura) and he leads a travelling acting group. The group performs Kabuki theatre in the province. No ensemble for the biggest stages in the world. His lover is Sumiko (the pretty and equally wise Machiko Kyo). Like everyone in the group, Sumiko is loyal to him and yet we know that the troupe has failed. In the place where we meet them there is a Saki-Bar, run by Oyoshi (Haruko Sugimura). Years before it had carried Komajuro's son. Now he returns. Whereby: His son believes that Komajuro is his uncle. Although he is proud of his child, he wants to keep the secret. But unfortunately he falls victim to a trick with the help of a young actress (Ayako Wakao)... You could make anything out of it now: A melodrama, a comedy... Ozu decides as usual for an everyday story. He loves his characters much too much to expose them to artificial highs and lows! Instead, he makes us feel almost physically with them. For example, when Komajuro lights a cigar in the Saki bar and finally finds a moment for himself alone. Ozu's scenes reflect the rhythm of everyday life. He uses his famous style (the camera barely moves and always remains at eye level with the characters), so that we can be as close as possible to the action. Between the scenes the camera captures details like the cherry blossoms or a banner in the wind. And even then the camera does not move. No resolutions, only cuts between one composition and the next. We MUST look, cannot simply react. Whoever reads something about Ozu will soon learn that he is violating the conventional rules of directing. His protagonists, for example, don't look at each other when speaking. But because of this, we never take the position of one or the other person. We stay outside the conversation. Observe. The music sounds nostalgic. This is an important moment in the Japanese composer's oeuvre, who repeatedly and gently worked on and differentiated similar material. Neurungen he never appreciated. Ozu's films resemble variations on one and the same theme. The strangest thing is that although his characters live so far away, we always recognize people who also exist in our circle of friends or family.

FREE ON YOUTUBE El Cid

FREE ON YOUTUBE  Sophia Loren, dark-haired and not blonde, Catholic and not American - but she is still a Hollywood story. At a time when sex was taboo, lush blondes clumsily bumped into furniture instead of seducing men - at a time when Hollywood producers must have believed that an Italian like Loren was closest to America's chastity code. Despite her figure! Loren was discovered by the much older Carlo Ponti during a beauty contest she didn't win. In 1962 she received an Oscar for a non-English language film! Although Loren is Italian, she embodies the American dream. Born as an illegitimate daughter in poverty - equipped with an impossibly well-formed body! She developed into a talented actress who also happens to be amazingly beautiful. By chance, because she doesn't seem to know that herself! Or is it? Well, maybe she knows about her seductive attributes, but she never admits to being impressed by them. And she was exactly the right cast for the Hollywood spectacle around Rodrigo Diaz alias El Cid, a Spanish nobleman from the 11th century. In 1080, the area we now call Spain was divided between Christians and Muslims. In this conflict it is Rodrigo Díaz (Charlton Heston) who achieves greatness by giving freedom to the prisoner Emir Yusuf al-Mutamin of Zaragoza (Douglas Wilmer). This part should be historically documented, but not that of Diaz Liebe. Her name is Jimena (Sophia Loren) and she is mad at him because he killed her father. At the same time she loves El Cid. A terrible story? But Anthony Mann has turned it into a sublime Hollywood classic. But if you read any more about Diaz, you'll find out that he was only a brutal looter. Let's stick to his beautiful girlfriend, the great Sophia Loren!

Film List Jacques Audiards The Sisters Brothers + Weirdo Western

Jacques Audiard, the French master of humanistic character studies, has made an American Western! Very funny, very unusual, almost eccentric, he turns the genre upside down and yet preserves it at the same time. His Western is absurd and revisionist - and yet he always relies on familiar images. Because we Western friends are all nostalgic, aren't we? I anyway! That's why I set out to search our video store for the most unusual westerns of recent years. What was that like? The most absurd Western!

FREE ON YOUTUBE Alejandro Jodorowsky - The Rainbow Thief

I've found a whole new job: Find free streams on YouTube. In good quality. Mostly it works with movies where the rights are free. Often those that aren't available on DVD from us. So I can add youtube streams to our selection of the film art bar Fitzcarraldo. A nice side effect: Obscurities like Jodorowsky's Rainbow Thief get completely new attention!  Have fun with it! FREE ON YOUTUBE Who could have predicted that Chilean filmmaker Alejandro Jodorowsky would make a comeback in 2015? There are two new DVDs of him on the shelf; the documentary about his most ambitious (and failed) project "Dune" and "The Dance Of Reality". Now he added: "Endless Poetry" - Jodorowsky about Jodorowsky. But who remembers this Jodorowsky movie? The Rainbow Thief was finished in 1990 and was only shown in France a few years later. Big names await us: Christopher Lee plays the stingy millionaire Rudolf, whose death the whole family longs for. After a night with the Rainbow Girls he suffers a stroke and falls into a coma. The stingy nephew Meleagre (Peter O'Toole) was appointed sole heir by Rudolf. Now the relatives do everything they can to have him declared crazy. Meleagre decides to go underground, into the sewage system, and to stay there until Rudolf awakes. He gets help from the crook Dima (Omar Sharif), who hopes for an adequate reward. Jodorowsky got involved in a commissioned work with The Rainbow Thief and suffered a collateral damage, which he probably still remembered well from his flop "Tusk" (1980). Like then, the artistic direction slipped away from him, it's hard to tell how much Jodorowsky is actually in The Rainbow Thief? Jodorowsky retired resignedly from the film business - until today! The Rainbow Thief disappeared into oblivion and is probably only known to die-hard fanatics. But - Oh miracle! - we can now experience the director's cut of the film and have to give justice to the work afterwards. Jodorowsky's vision would have more than deserved a big audience! The plot only serves as a framework for crazy and fairy-tale ideas. Everything takes place in a surreal city that is ruled by misery during the day, but turns into a fairground at night. Dima is the king of this world with his always new ideas to get money. He has a strange friendship with the eccentric Meleagre. Especially successful: the dialogues with the dog doll Chronos! Christopher Lee's performance is far too short, introducing the plot and suggesting depth (which Jodorowski's direction doesn't necessarily allow). All of this is realized with a visual impact that reveals that the Chilean has been given a big budget. Cameraman Ronnie Taylor (Tommy) compensates for some ambiguities in Jodorowski's characters. In the baroque theater some things remain a bit unmotivated and the finale seems like a coincidence to me, so suddenly it breaks over us. It's time to complete Jodorowsky: Dune is available as a documentary, Tusk can be streamed in our catalogue Features Movies, the restored Jodorowsky version of The Rainbow Thief is waiting in our video store (or as a free stream)

FREE ON YOUTUBE 80s Teenager Movie Foxes

FREE ON YOUTUBE Were we really like this as teenagers in the 80s? Was this how we survived the teenage years? "Foxes" shows four girls from L.A. They live in the San Fernando Valley and come from broken, unhappy families. Directly into the teen subculture and the San Fernando Valley are drugs, sex and rock'n'roll. Or vice versa. They are not bad girls. Not really bad. They appear as a clique (the German cinema title is Jeanies Clique), preferring to sleep together than at home with their parents. They form a substitute family with violent loyalties, because all teenagers are dependent on loyalty and friendship. An age where friendship means so much more than a brief romance. They are expected to live somehow in the society of adults who fulfil their duties but do not yet have the rights of real adults. Of course we "adults" know how harmful alcohol and drugs and and and and are. But this knowledge reaches far beyond the horizon of 16-year-old children (I correct myself as the operator of a bar where mostly 30-year-old children work): Really????). But one of the girls, Jeanie (Jodie Foster), does manage. She has the function of a teenage mother within her clique. Jeanie has enough problems of her own, but she is intelligent and reflective enough to clearly recognize and name them (and the problems of her friends). Jeanie doesn't reject her friends. But she is the only one who doesn't seem lost. Jeanie uses her chances. The typical days and nights of the "Foxes" are deliberately structured in a relaxed way. Everything happens out of the impulse. The girls get drunk, run away, stay outside at night. Topic of the film: How is all this perceived by the parents? The focus is on the relationship between Jeanie and her mother - a wonderfully complicated relationship! Jeanie's mother Mary (Sally Kellerman ) is around 30 and divorced. She has her own difficult love life and tries to raise her daughter. She also attends college. We may conclude: Mary also belonged to the Rock'n Roll subculture (her ex-husband promoted bands), married too young and became too young mother. As the mother of a sixteen year old she is still trying to grow up herself. She wants to spare her daughter everything she had to go through. And yet both are in the same boat. "Foxes" is an ambitious film about teenagers by Adrian Lyne. No conceived hit like later Adrian Lyne movies. He is interested in teenagers, shows how they talk and how they feel. An honest portrait of teenagers in the suburbs. For me a nice insider tip from the early 80s for children who have seen all 80s teen movies!