Lou Castel Movies

It is early in the 20th century, and an American traveler has come to Mexico at just the wrong time to continue living a peaceful life, for the Revolution has begun and he quickly finds himself in the thick of it. At first, he is right in the middle between government troops and the revolutionaries and bandidos as they attack a train. Later, he finds himself among the decidedly scruffy-looking revolutionaries and even finds some romantic interest in a hot-tempered girl who is among them. ~ Clarke Fountain, All Movie Guide

Emilio Garrone (Alberto Sordi) used to be a government functionary who supervised the leasing of broadcasting rights for the Italian government, but now he is retired. In this comedy, through a series of well-played scams, he winds up not only with the exclusive ownership of all broadcasting rights in Italy, but he soon takes over a big U.S. television network with money he doesn't have. At no point has he had two lira to rub together, but that doesn't stop him, because he wants to create something beautiful for his beloved granddaughter. This mild satire pokes fun at two very real figures in the Italian media business, Silvio Berusconi and Giancarlo Parretti. ~ Clarke Fountain, All Movie Guide

Themes long forbidden in Spain under the Franco dictatorship began to be explored in the years just following his demise. In this 1976 film, an unhappy and very effeminate man (played by a woman, Victoria Abril), experiences one difficulty after another. As a boy in Cataluña, his father attempts to teach him to "be a man." These lessons include taking him to a big-city whorehouse to have sex. At the bordello, he successfully avoids having sex with a woman, but when he sees a transvestite revue which culminates in the actors revealing their actual genitalia, he is fascinated. He runs away from home, learns to be a hairdresser, and develops a transvestite act of his own. After numerous love affairs with men, he eventually realizes his transsexual nature and goes to another country to have a sex-change operation. ~ Clarke Fountain, All Movie Guide

Michael is the younger son of a middle-class family, a strong-willed and free-thinking fellow, who is off in some distant country fighting for a revolutionary cause. Everyone in the family writes to him, describing the events of their lives, as they drift into a kind of conventionality which would perhaps have horrified them earlier. Only Michael's girlfriend Mara (Mariangela Melato), the mother of his child, retains her independence, even though it is through the help of Michael's increasingly conventional friends and family that she survives. ~ Clarke Fountain, All Movie Guide

A boy in his early teens develops a crush on a grown woman old enough to be his mother, only to discover she is also attracted to him, in this controversial drama from France. Marion (Emmanuelle Bercot) is a headstrong and free-spirited woman in her early thirties who heads to the seacoast for a short vacation that coincides with the 13th birthday of her godson Benoit (Kevin Goffette). Benoit and his friends are just old enough to be enthralled with any conversation involving sex, and Marion humors them by joining in their talks on the beach about the mysteries of women. Marion soon gets to know one of Benoit's friends, Clement (Olivier Gueritee), and the interest between them becomes more than just friendly; some good-natured horseplay stirs a desire between them, and after the two share a kiss on the beach, Clement is obsessed with Marion. While she's unsure about starting a relationship with a boy less than half her age, Marion can't deny her feelings for Clement, and before long she and the youngster are lovers. One night, Clement appears at Marion's doorstep, announcing he's run away from home and wants to move in with her; Marion isn't sure what to tell the boy, knowing the foolishness of such a move even though she does love him, and soon Clement is crestfallen, certain that Marion no longer cares for him. Clement was written and directed by Emmanuelle Bercot, who also stars as Marion; the film was shown in the Un Certain Regard series at the 2001 Cannes Film Festival, where it received the Young Cinema Award. ~ Mark Deming, All Movie Guide

The unfortunate Traugot (Lou Castel) suddenly finds himself sandwiched between his former lover Freya (director Helke Sander) and his new love Irmtraut (Rebecca Pauly), both women are good friends -- or were. Traugot waffles between the two women and ultimately, seems to want both, why not. Freya vacillates between exasperation, a still-burning love for the waffler, anger against him, and the desire just to leave it all behind. As the story unfolds, she takes action while under the influence of her runaway emotions, and perhaps that is the catalyst that finally shakes up Traugot and forces him to make up his mind about his potentially monogamous future. As in previous films by director Helke Sander, women's issues are subtly raised and handled appropriately, in an engaging and relevant story told with wit and a visually sensitive camera. ~ Eleanor Mannikka, All Movie Guide

Intentionally or unintentionally molded after the eccentric deadpan comedies of Jim Jarmusch and Aki Kaurismaki, the quirky slice-of-life feature El Cantor unfolds amid the day-to-day of western European Jews. William (Luis Rego), a dentist living in the French port city of Le Havre, receives a telegram from his long-absent cousin, Clovis (Lou Castel), indicating that the latter will soon be docking and needs a place to reside. He's an itinerant Jew without a permanent home, nicknamed "The Cantor" by his parents for his obsession with imbibing as much Yiddish as possible during childhood. As a youngster, Clovis constantly played the prankster by teasing William and others, yet remained affable to generally everyone (including William). Sensing a rekindled closeness, William - to the chagrin of his wife Elizabeth (Francoise Michaud), who is still grieving from the recent loss of her father - obliges Clovis's request. This prompts Elizabeth to do everything in her power to persuade Clovis to leave, shy of physically throwing him out the door. Clovis remains, however, and soon accompanies William on an eventful trip into the city that neither will ever forget. Director Joseph Morder segments his film into distinct chapters with fade-outs in-between. ~ Nathan Southern, All Movie Guide

The mid-life crisis of a middle-aged, depressive college professor/author provides the center of this French character study. Abel Vichac has really let himself go. Though a successful writer, and supposedly working on a book about 'regret,' he is barely functioning. He can't sleep at night. During the day he is easily distracted, irresponsible and moody. He also ignores his patient live-in lover Aliette who has stuck by him for 10 years. As he mopes through another day, he gets into several awkward occasions. One of his students, Florence tells him off in a café. A young woman, Catherine hears this and afterward introduces herself as a fan. Later he decides to find her address and visit her apartment. There Abel meets Catherine's roommate Aurore and the former's jealous boyfriend Bruno for a tense scene. He is returning home when Abel encounters his brother's former lover Olga and this creates more awkwardness. It all reaches the breaking point when Babel attends a birthday party, goes skinny dipping, and then has a telling encounter with a gun. ~ Sandra Brennan, All Movie Guide

In this post-apocalpytic adventure story, narrated by Van Johnson), Teo (Fabrice Josso) lives underground in a cave with his father, who is a member of a ruling clan. Except for people within a family, all contacts between citizens are supposed to be electronic. However, Teo manages to contact and arrange to meet a girl named Beatrice (Ines Sastre). Not only that, but they use forgotten conduits to travel to the forbidden aboveground world. There, he and Beatrice meet and have some adventures with rat-like mutants living in the ruins of old cities while a man from the caves (Horst Buchholz) hunt for them. At first these adventures with the mutants are purely hostile, but eventually Teo becomes a leader among them, and takes them to a place where they may be safe from attacks by the underground people. ~ Clarke Fountain, All Movie Guide

An American gangster of Swedish origins returns to his homeland to set up shop as a morality crusader, much in the manner of the later phenomenon of televangelists. While indulging in behind-the-scene shenanigans including rape and murder, the gangster (played by American Clu Gulagher) preaches to large audiences, using mass hypnotism and show-biz razzmatazz to get his message across. The film also features a brief performance by Per Oscarsson, following his highly publicized "retirement" from screen acting. ~ Clarke Fountain, All Movie Guide

Grazie Zia is better known by its English-language title Thank You, Aunt. As an act of defiance against a world he never fit into, 17-year-old Alvise (Lou Castel) has willed himself into a state of psychosomatic paralysis. From the vantage point of his wheelchair, Alvise cruelly manipulates all those around him. The only one who seems to resist his tyranny is his gorgeous aunt Lea (Lisa Gastoni). Hopelessly in love with Lea, Alvise determines to "conquer" her as well. Her response to his insidious mind games is hardly what Alvise expects, but it's certainly what the audience has been clamoring for since Reel One. To call Grazie Zia kinky would be putting it mildly. The film was also released as Come Play With Me. ~ Hal Erickson, All Movie Guide

A diverse group of guests gather in a small hotel in Paris to contemplate the state of their lives in this pretentious drama. Joseph Goldman (Fernando Rey) is a washed-up Hollywood actor making a living in the dinner-theater circuit. Accompanied by his wife Sarah (Carola Regnier), Goldman meets Frederique (Berangere Bonvoisin), who is hiding from her former lover. French financier Arthur (Fabrice Luchini) hopes to get into the film industry and bends the ear of a British director (Michael Medwin). The talkative film has little action, and none of the characters evoke much interest or resolve their dilemma. ~ Dan Pavlides, All Movie Guide

Considered one of the great lost classics of Italian neo-realism, this bleak drama was the debut feature of filmmaker Marco Bellocchio. Lou Castel stars as Alessandro, an epileptic from a large family of similarly afflicted siblings, headed up by a blind matriarch (Liliana Gerace). The only healthy member of the family is Alessandro's brother Augusto (Marino Mase), who wants to marry his girlfriend but refuses to saddle a bride with the enormous burden of helping to care for his ailing relatives. Sympathetic to Augusto's plight, Alessandro decides to murder the rest of the family so as to set his brother free and assure him of an inheritance. After hurling his mother into a ravine and drowning his little brother, Alessandro returns home to suffer a seizure. Long hailed by critics and historians as an unjustly ignored film, I Pugni in Tasca (1965) was one of 15 titles selected by New York's Museum of Modern Art for its "Second Act" retrospective of post-war Italian cinema in the spring of 2000. ~ Karl Williams, All Movie Guide