This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
It has come to my attention that there is not a directorial list of Fisher's filmography. I am not a huge fan (as of yet I have only seen The Curse of Frankenstein) but I intend to see a great deal of his films in the upcoming weeks in chronological order.
Aleksei Balabanov (25 February 1959 – 18 May 2013) was a popular Russian filmmaker. Balabanov is best known for the 1997 crime film Brat, and its more action-oriented sequel, Brat-2, both of which starred Sergei Bodrov, Jr. as a novice hit man. Brat became a hit both at the box office and in video copies, achieving wide popularity in Russia. Later, however, he became better known for his shocking and controversial films Gruz 200 (2007) and Morphine (2008).
Lithuanian film director, one of the most outstanding representatives of cinematographers. His contacts with cinema began in 1985 with the TV serial “Sixteen-years-olds” (dir. Raimondas Banionis), where Bartas played one of the main roles. He is a graduate of the Moscow Film School (VGIK). He made his directorial debut with his diploma film, the short documentary “Tofolaria” and mediocre-length film (which called spectators’ attention) “For the Remembrance of Last Day” (1989), where the real personages are “acting themselves” according to the principles of feature film. The author further “purified” the specific cinema language in the full-length film “Three Days” (1991), which was awarded the prize of oicumene committee at Berlin Film Festival (for the problems, the importance of the theme, the profundity) in 1992, and FIPRESCI Prize for the originality of the style, the significance of the theme, the beauty of pictures. This is a story (almost without plot) about three young Lithuanians visiting Kaliningrad-Karaliautchus-Kionigsberg – a moribund, outraged town. The traditional dramaturgy is ignored in later Bartas’ films, as well: “The Corridor” (1994, it was shown at Berlin Film Festival), “Few of Us ” (1995, shown in Cannes, in the program “Other Point”), “Home” (1997, shown in the same program in Cannes). All of them are works of free structure, minimalistic form, philosophical associations. The works of Bartas are not well-known and analysed in Lithuania, but they have a small, faithful round of admirers in the West. (Bio Courtesy: The Auteurs)