• In the French dubbed version, the girl’s age is 14.

This movie is about a group of teenage friends that get involved in theearly pregnancy of one of them. Paloma meets Arturo, they fall in loveand on a mountain trip she gets pregnant.

Basically the movie discusses on a very lightly way the consequences ofgetting in these kind of situations being too young. But is also acomedy only because of Paloma’s and Arturo’s friends trying to keep thebaby a secret from everybody else. I saw this movie when I was ateenager and I loved it, I still do. You can learn so much from thestory and, by the way, there’s no an abortion in this movie.

From my perspective this movie is about loyalty,responsibility, love,friendship and life. How much can you do for your friends?

Three Argentinian astronauts aboard an old fashioned Italian-voicedspaceship who try to blow the moon out… Wow! But this is just thebeginning, the prologue.

After we know their mission, the movie action starts, and also a lot ofsurrealistic gags involving character's relationship and their pasts.Anyway, besides it's sci-fi movie, you shouldn't forget it's also acomedy… with a very particular kind of humor.

I think it's very remarkable the Argentininian patriotic atmosphere, aparody of USA movies, where you can see the flag of Argentinaeverywhere and the astronauts as very keen soccer fans.

Moreover, I found pretty funny a scene I can't describe because it'd bea spoiler, but in that scene you can hear a very, very long string oftypical Argentinian swearwords and profanities.

2) Three Argentinian astronauts are sent to the space with a mission:destroy the moon. But the same government that sent them to such andadventure eventually leaves them on their own, lost, abandoned,floating around the satellite. As time pass by the astronaut’s angerand desire of revenge go stronger and the madness grows, taking each oftheir specific personalities to a demential point of no return.

This movie is naturally polemic. It happens to be a sci-fi movie(visually it’s very well done, specially if you have in mind the lackor resources in its production), but the story is more related to theinner world of the characters. And also it happens to be a comedy, butin my case it didn’t made me laugh out but instead keep a constantsmile, a confused smile, one that still is surprised with the strangeworld that’s being projected. This smile can sometimes turn intolaughter, but it’s a nervous laughter, almost like the one fromUrdapilleta when he watches her colleague sub commander Rodulfo and thealien dancing in the outer space. This kind of combinations, thisstrange vision, is not enjoyable for everyone. I understand people whodoesn’t like it, that leaves the cinema with anger, because they don’tshare at all the tone of the movie. They don’t understand what’s beingtold on the screen, and what they understand they don’t like it anyway,it bothers them. But I understand much more and I identify myselfcompletely with the audience that leaves thankful of having been partof the rare experience this movie invites you to live, full ofcomplicity, with not many explanations. It has wonderful performancesof the actors, great dialogs, it’s perfectly shot and has admirable artdesign and cinematography. A movie that takes the great risk of tellinga story in a different way, and telling also a different kind of story,using other kind of structures. A movie with excesses, relentless withits characters and with Argentina itself, but a film that’s alwaysfunny and surprising.

2) Tricked into buying stolen cattle, Brett Landers narrowly escapes being lynched. Still wanted, he hunts down the real cattle rustlers to clear his name.

An African-American man living on the prarie is befriended by a scheming drifter. (Josiah Howard, "Blaxploitation Cinema: The Essential Reference Guide.")

• Richard Pryor’s lines were mostly ad-libbed.

The movie does have a cool theme song, but you’ll get tired of it afterabout the 40th time!

2) The ever-solid and charming Fred "the Hammer" Williamson stars as arugged itinerant gunslinger who becomes the reluctant constant patsyfor slick'n'shrewd con man Richard Pryor. The crafty duo experience aseries of goofy misadventures in the Old West in this amiably inane andinconsequential piece of low-budget blaxploitation sagebrush fluff.Competently directed by Williamson (who also wrote the slight, butwitty script), the rambling narrative saunters along at a pleasinglyrelaxed rate, the tone remains pleasant and playful throughout, andthere's a winningly breezy'n'easy chemistry between the two leads, withWilliamson engagingly playing the long-suffering straight man toPryor's smartaleck joker. Moreover, Williamson stages the expectedrough'n'tumble fisticuffs, heated shoot-outs, a daring jailbreak andfrantic horseback chase sequences with a reasonable amount of skill andbrio. Popping up in nifty supporting parts are Thalmus ("Blacula,""Cool Breeze") Rasulala as a rascally old coot with two hot daughtersand former Tarzan Mike Henry as a dumb, ornery cuss. Both Luchi("Friday Foster") De Jesus' cool soulful score and especially the funkyR&B theme song really hit the groovy spot. Granted, "Blazing Saddles"this picture sure ain't, but it's a satisfyingly lightweight andgood-natured diversion just the same.

3) i found this movie for a very cheap price and thought,how bad could itbe.right off,i could tell the budget was next to nothing.at least itfelt that way.it is supposed to be comedy,but from what i watched,itwas not funny at all.i also noticed that the same manufacturer anddistributer were also behind "Dan Candy's Law".i think the productionvalues are better on this film.at least the movement of the lips andthe words matched,unlike "Dan Candy's Law"but i also thought the actingwasn't very good.Richard Pryor and Fred Williamson are the maincharacters,co the movie should have been funny,but to me it was not.imight try and watch it some other time,and maybe i will have adifferent opinion.but for right now,i didn't like it.

The movie tells the absurd story about a talented architect and hisfamily, whose painful desire to leave Bulgaria for the mythical betterplace – Rio, turns into hysteria when one night a dead body abruptlyenters their lives. In their effort to hide it, remove or destroy it,they go through determinism, infuriation, despair, and ultimatelymadness, as the audience slowly begins to realize that the dead bodyjust a metaphor of the whole way of life each and every Bulgarian lived(and maybe still does?). The dead man it turns out lives in every oneof us, haunting our days with his Jesus-blue-eyed stare as wecompromise with ourselves, as we bury our heads in the sand and waitfor the better life to come.

"Adio Rio" is possibly the best contemporary representation of socialrelationships in Bulgaria. The dead end and the pessimistic tone of themovie, might seem surprising, considering that it was made in a timewhen political changes promised brighter future. However they becomeeven more powerful and hit the viewer right in the face today, 15 yearsafter the fall of communism, when the bright future we wished for neverhappened, the social relationships are still as rotten, and Bulgariansouls just as empty.

strongly recommended

2) Amazing "comedy of horror" (this is the genre of the film according tothe authors). But I don't agree with part of the comments. Dead bodyappears only to people when break the moral issues e.g. it is symbol oftheir dying conscious. Moreover it the social relations in Bulgaria arenot better but they are totally different after 17 years "freedom".

There is not less bad guys there, there are new home grown up with themoney and power of former so called communists, there are many importedand paid from western countries or Russia. But the film is somethinglike Orwell's "1984", but from other and more real prospective.

However I have seen this movie 3 times and I would love to see againwhen I'm far away from Bulgaria – their is a lot of black humor mixedwith moral task which everyone of us has to tackle with.

It has been developed as a modern follow-up to an old live action "Bedtime Stories" program and the host of this old version has been re-created as a 3D animated figure and lends her voice to the lip sync’d narration, using a patented technology. She tells an original fairy tale in each episode and the show is completed into a 45 minute program with the inclusion of cartoons.

The program’s interactivity is it’s very strong point since the storyteller (ADILE TEYZE) greets the viewers reciting different names of children in the beginning and the viewers are encouraged to send in their photographs as in each episode, as program allows one real child to be modeled in 3D animation and introduced to the public with his name and city of origin, becoming a part of that episode.

The program’s interactivity is it’s very strong point since thestoryteller (ADILE TEYZE) greets the viewers reciting different namesof children in the beginning and the viewers are encouraged to send intheir photographs as in each episode, as program allows one real childto be modeled in 3D animation and introduced to the public with hisname and city of origin, becoming a part of that episode.

• Visa d’exploitation en France #44331

Commissaire Verjeat’s (Lino Ventura) pursuit of Proctor is hampered byLardatte for whom he has a personal dislike and misses no opportunity tohumiliate. As a result he then finds himself with a very short time tocapture Proctor, since he faces a promotion and a posting outside ofRouen,which will take him off the case. Verjeat is sure that this is courtesyofLardatte and his police contacts! To cap it all, his sidekick, theeccentricInspector Lefevre (Patrick Dewaere), implicates them both in a case ofpolice corruption!

This French police drama focuses mainly on the politics of the policedepartment and the often dubious relationship between police, criminalsandpoliticians. What could be a routine docu-drama is enlivened by thecontrasting performances of the no-nonsense Ventura and jester-likeDewaere.And there are also exciting moments like a siege of the city hall and anattempted arrest of Proctor, which is ruined when Lefevre’s change fallsoutof his pocket!

2) "His face was his fortune" is one description of Lino Ventura, theformer wrestler turned actor. In movies like The Sicilian Clan andAdieu Poulet, he played a tough cop as well as any actor on either sideof the Atlantic. In Adieu Poulet, as Verjeat the cop on a mission,Ventura's character has almost everyone lined up against him: a copkiller, a political big shot in Rouen who has connections to thenational government in Paris and, of course, Verjeat's superiors whoconsider him a loose cannon. Adieu Poulet already shows the decline inthe French film industry from only a few years earlier, when Frenchfilms were regularly shown in art house theaters in the United States.The production values of this movie are almost non-existent, the budgetof this film must have been a tenth of The Sicilian Clan made six yearsearlier and financed by 20th Century Fox's French movie distributioncompany. That movie opened in the USA at the Sutton on 57th Street inNYC in 1970 and got a fairly wide release. Adieu Poulet was released inthe USA in 1979, playing at the 68th Street Playhouse, where New YorkTimes reviewer Vincent Canby gave the movie a bad review. Then oblivionfor Adieu Poulet.

I was able to see the movie with subtitles only because eight years agoCUNY-TV used to show French movies on its cable channel, subtitlescourtesy of Julia McPhail. Adieu Poulet's tale involves crookedpoliticians, the goons they hire to stamp out their opposition and eventhe operator of a whorehouse who says she has connections, so Verjeathad better lay off her, after an old customer drops dead in a bed witha built in vibrator. You know, the subject of whores, politiciansdistancing themselves from the deaths of civil servants and cover-upsof corruption are as timely now in New York City as over 30 years agoin Rouen.

Just look at the cover-up of the deaths of the two firefighters at theDeutsche Bank building fire in downtown Manhattan, where FireCommissioner Scoppetta (who never spent a minute working as afirefighter) is protecting himself and his boss, Mayor Bloomberg, bydemoting FDNY brass, convenient scapegoats for a fire at a buildingdemolition project apparently being handled by a firm with organizedcrime ties. At least in Adieu Poulet, the crooked politicians know thatthe solution to the Verjeat problem is a promotion, not a demotion. InNYC, whether it is reports by firefighters of massive explosions at theWTC buildings on 9/11 or the giant arson fire at the abandoned Brooklynrope factory warehouse (whose owner already had cleared out anotherbuilding he owned with an arson fire) or the $75 million demolition feepaid to demolish the Deutsche Bank building, silence is golden.

But the tough cops played by Lino Ventura are fictional characters. Inthe real world, in New York City, arson investigators spend their timenot investigating crime but chauffeuring Fire Commissioner Scoppetta tomeetings. At least Lardatte, the scheming politician in Adieu Poulet,is not a double dipper like Scoppetta, who collects a big NYCgovernment pension on top of his even bigger FDNY Commissioner salaryand is only good at lying and covering up arson fires by connected realestate developers. Only in New York, not Rouen.

3) ….were very trendy in France during the seventies ,in the wake of theevents of May 68."Adieu Poulet" is a watchable ,if not particularlymemorable effort in the field.

Lino Ventura and Patrick Dewaere -whose career had just begun and sadlywould be short-lived- make a solid team .They have to fight against afar-right politician (of the P.R.U party (whose motto is "Moral andOrder" ) played by Victor Lanoux.

The script was written by Francis Veber ("la Chèvre" "le Dîner de Cons")and it was filmed on location in Rouen.Pierre Granier-Deferre madegood "Cinema de Qualité".

4) Cop movie was truly a big part of French cinema in the 60’s and the 70’s.And this one is true to the genre. Granier-Deferre is able to make us carefor commissaire Vergeat, the cop who’s ready to use unorthodox ways tocatchthe bad guy. But Vergeat’s way of doing things gets him into trouble. He’sgot to play politics. Ah! poor Vergeat!

One last thing: Lino Ventura does a terrific job playing thecommissaire.

Out of 100, I give Adieu Poulet 82. That’s good for *** out of****.

Seen at home, in Toronto, on September 11th, 2002.

2) a subtle and poetic film about people trying to find their real placeand run away from origins. two guys frequently meet not knowing thatone of them is rich but prefers washing dishes in a bar, while theother is poor but rents a suite and motorbike to spend a fancy day intown. probably, one of the most beautiful moments of the film is therich piere’s (played by ioselliani himself) acquintal with a drunkardfrom the town. both sing long gone melodies while drinking and watchinga mini train running around on a table. many have regarded the film astoo slow and boring what apparently comes from ioselliani’s refusal touse close-ups and crane/dolly shots. in opposite, it adds a silentobserving character and avoids to give any human judgment.

3) Here indeed is film-making in its purest art form. Iosseliani has, inthis film, the only one of his I have had the greatest pleasure ofseeing, manages to evoke such subtle ideas in each pan, in each scene,which in themselves are miniature stories, each one a little jewel,which little by little begin to string along, creating a thread whichtells the whole story. And the result is a treasure, something to valuefor a long time.

To call this film a comedy, is almost an insult: it is far too subtlefor such simplistic definition. Here is wit, which is not just for easylaughs; here is wit in its subtlest form, such as the British sense ofhumour in the fifties and early sixties of the past century. Here isthe voice of a visionary who creates unforgettable tid-bits, visualsavouries, such that each scene in itself is a suggestive, evokefultreasure, combining to thread together an intelligent story forintelligent viewers. No, one should not try to compare Iosseliani withAlmodóvar or Lynch, perhaps a slight influence or comparison withFellini at times, because the concepts of how to exhibit subtle nuancesof wit in exquisite expressiveness, very often with hardly anydialogue, belong to another sphere.

The presence of a great bird, similar to a pelican, as well as the twodogs – a Labrador puppy, and a short-legged variant of the BorderCollie, affords that emblematic and enigmatic delicate touch whichhelps this film to be something else: it is not comical and it is notlaughable; this film is cinematography as art.

My vote is much higher than the present average shown in IMDb.

4) I’ve just seen this movie last week at the International Film Forum"Arsenals" which takes place in Riga, Latvia.

I think it’s a brilliant movie with style, taste and outstanding work ofDirector and Director of Photography. Acting is great, too. It’s a definitemust to see for people who like Otar Iosseliani’s films and for many otherswho can appreciate real art of cinema.

5) A superb blend of Parisian life akin to Almodovar’s in depthanalysis of life in Madrid. The surrealism of the Marabouand the end sequence adds the Bunuel touch. For good measure add a series of superb characters who would nothave been out of place in any of the Twin Peaks episodes.More Calvados please and another movie as good as thisone – a rare visual event.

6) It reminds me of Keanu Reeves in My Private Idaho, but this is aEuropean version which is of course more "humane" and very "european".The style is like "the Stream of Consciousness", the shooting of themovie seems like the director’s casual flowing of ideas, which is notvery much arranged, anyway, I like anything that is off the track andextraordinary. Lastly, the gist the movie tries to unveil is that lifeis a circle, it repeat itself all the way. Seems like the directorunderstand the Chinese philosophy- Taoism, which said that everythingis developing is its own track, which is a circle. I think the end ofthe movie is very meaningful, though it’s the father’s turn to leavethe rich home to look for his own dream, it is clear that unlike hisson, his must be a successful escaping. I appreciate the regular usingof the rainy weather in the movie. I just love everything about themovie.

7) Iosseliani is a truly controversial figure of film making; You eitherlike his films or fell asleep watching them. No in betweens. Havingonly minimal traditional narrative or story telling clichés, the filmmanages to illustrate true emotions without being bombastic orover-sophisticated. Doing this by showing everyday people who are onlydrifting with the waves of life, wishing to get away from theirexistence.There's a slight sarcasm involved in the portrayal of howeveryone is unhappy with what he/she has and wants to be like the otherwho wants to be like him , and vice versa.(Really sharp.)However, Ittall ends up in positive, placing emphasis on the need for seekingpersonal freedom and finding hope and refugee in true friendship, in aplastic, greedy, selfish world.

Personally, i think it has one of the most touching end sequences infilm history.

I understand the purpose of the director to tell stories that aren’tstories, but the way he tried to show time passing by (the couple ofjoggers, who first appear jogging together, than jogging with astroller (sic!), than the man alone…) and to link the "adventures" ofthe characters (the final scene, with the maid climbing a mountainseeing the big black guy on another cliff, and then seeing the boatwith her former employer and saying "Oh, a boat!") were awful. At thesame time, I liked the way he portrayed the middle-high class, even inan excessive way. I think it is a lousy movie. If you want to watch it,do it as a film school student, trying to see technical aspects andissues. It will help a lot.

9) Otar Ioselliani’s masterpiece about pursuing life’s dreams andremaining true to your beliefs combines a wonderful sense of warmth andan exceptional sense of humor as it paces along in its very own,unconstrained fashion while inviting us for a ride into its pleasantand touching world.

Scenes of often over-the-top situation comedy are juxtaposed withsoulful explorations of the human heart, where staying honest tooneself as a person is the only way of avoiding life’s inevitablecruelty.

Both entertaining and thoughtful, it is the most enjoyable film to-dateby Ioselliani.

10) I saw this immediately following the same director’s Falling Leaves andfound it much more accessible. The twenty-odd year gap between the twofilms and the fact that this one was made in France as opposed toGeorgia may, of course, have something to do with it. Again, theGeorgian-born director (he made a point of saying he was Georgian andNOT Russian) introduced it – in fluent French yet – and described it ashis most complicated film. It’s a gently, meandering piece and at leasthalf a dozen times you think, OK, that’s it, a logical ending, only tohave it spin out yet moor gossamer thread. There’s a distantrelationship with Renoir’s The Rules Of The Game but only around theedges. It’s about a disparate group of people whose lives intersect andsometimes, but not always, connect. Bizarre, eccentric, both could befairly employed to describe some of the characters. Again the directorchooses to spin his web around a young male, this time around the scionof a wealthy family who, for reasons best known to himself, works as adishwasher in a restaurant – and an inept dishwasher at that; he’sfired halfway through the film – and chooses friends from among theoutcasts of society (again, we could, if we wanted to stretch a point,find a link with Boudu Saved From Drowning). Characters come and go onthis patchwork quilt and some we find more interesting than others.None of the actors are well known but most are fairly competent andoverall the film holds the attention.