Born into a way of life from which there is no escape.
I am a Hindu, a Dalit.
Some people believe I am a liar.
The one who is wrong, is wrong.
The one who is good, is good.
But I am a writer, so I do cleaning.
Cast at Birth, next on The Cutting Edge, 8.30 Tuesday on SBS.
Coming soon to Cinema Classics, a black comedy set in occupied France during the Second World War.
A pig across Paris traces the fortunes of two men from very different backgrounds.
In The Bandit, two friends return from war.
One cannot settle and is forced into a life of crime.
And in La Aveniera, a young Swedish woman encounters a fiery Puerto Rican,
whose jealous nature leads to tragedy.
Coming soon to Cinema Classics.
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
The Cutting Edge
Three men from different walks of life are haunted by death.
A short film about killing.
Then the profoundly moving story of a young postal clerk's desire for an older woman.
A short film about love.
I moved your bed, see?
Have fun.
Decalogue. The Ten Commandments. Sunday night at 8.30. SPS.
Welcome back.
Well, politics in the USSR have changed quite a bit since the last time we showed Sergei Eisenstein's October on SBS.
But the breathtaking achievements of the filmmakers who made this recreation of the 1917 revolution are, of course, undimmed.
October was made in 1927 and first released in March 1928.
Eisenstein had already achieved world fame with his film Battleship Potemkin about an earlier abortive revolution.
And October was intended to be completed in time for the tenth anniversary of the revolution.
The fact that it wasn't was largely due to the political upheavals of the period.
October dealt with real characters and by the end of 1927 Trotsky was very much out of favor.
And Eisenstein was obliged to delete all reference to Trotsky from his film.
Deletions that amounted to a good deal of running time.
Well, if you've seen Battleship Potemkin, which I'll be screening again early next year,
you'll see Eisenstein's theories of montage carried to even greater extremes here in October.
There are some brilliant sequences starting with the overturning of a statue of the Tsar.
The most celebrated scene is that of the rising bridge carrying with it a dead horse and a girl with flowing blonde hair.
As in Potemkin, there's no central character in the film.
The hero is the crowd, the people themselves.
Eisenstein was given virtual carte blanche to film in Leningrad and at the Winter Palace.
He actually damaged the palace in his exuberant reconstruction of events.
On this film he gave co-director credit to his assistant, assistant Alexandrov.
But there's no doubt that October is an Eisenstein film, the film of a great filmmaker.
So here it is, October.
Next on Masterpiece, Patterns of Landscape.
A celebration of the life and works of Australia's greatest landscape artist, Fred Williams.
Taken from locations which inspired his works, this is an impassioned journey into the craft,
humour and generous spirit of an artist who left us the legacy of his unique vision.
Patterns of Landscape, 7.30 Sunday on SBS.
Sunday night, two films by Krzysztof Kaczlowski,
which have received numerous accolades when expanded into feature-length films.
Three men from different walks of life are haunted by death.
A short film about killing.
Then the profoundly moving story of a young postal clerk who is a
police officer, who is a criminal, who is a criminal, who is a criminal.
Then the profoundly moving story of a young postal clerk's desire for an older woman.
A short film about love.
I moved your bed, see?
It's good.