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The Furies is a 1950 American Western film directed by Anthony Mann and starring Barbara Stanwyck, Wendell Corey and Walter Huston in his final film performance. [2] Based on the 1948 Niven Busch novel of the same name, its plot follows the ruthless daughter of a tyrannical rancher in 1870s New Mexico Territory who struggles with her stake in his estate.
The Furies, a film montage by Slavko Vorkapić which opened the 1934 film Crime Without Passion; The Furies, a Western by Anthony Mann; Furies, an animated short film by Sara Petty; The Furies, a Spanish film; Furies, a Vietnamese film; Furies, a French action drama television series
Furies (Vietnamese: Thanh Sói - Cúc dại trong đêm) is a 2022 Vietnamese martial arts film produced, directed by, and starring Veronica Ngo, alongside Đồng Ánh Quỳnh, Tóc Tiên, Rima Thanh Vy, Thuận Nguyễn, and Song Luân . It is a prequel to the 2019 film Furie, telling the origin story of that film's villain.
The Furies (Spanish: Las furias) [1] is a 2016 family comedy-drama film with tragedy elements written and directed by Miguel del Arco. The ensemble cast features Pere Arquillué, Gonzalo de Castro, Elisabet Gelabert, Bárbara Lennie, Carmen Machi, José Sacristán, Mercedes Sampietro, Alberto San Juan, Macarena Sanz and Emma Suárez.
Furies is a French action drama television series, produced and streamed by Netflix, created by Cedric Nicolas-Troyan, Jean-Yves Arnaud, and Yoann Legave, and starring Lina El Arabi, Marina Foïs, and Mathieu Kassovitz. It premiered on 1 March 2024.
The Furies (1930) is an all-talking pre-Code murder mystery film released by First National Pictures, a subsidiary of Warner Bros., and directed by Alan Crosland. The movie stars Lois Wilson, H.B. Warner, Natalie Moorhead and Theodore von Eltz. The film was based on the 1928 play, of the same name, by Zoe Akins.
Writing for Animation for Adults, blogger Yvonne G. describes the film as "a gorgeous rush" in which [2] The environment is an abstract painting in motion inhabited by two graceful and delicate felines. The film seems to shift into the cats’ perspective as tunnels and stairs fly by. At the end of the abstract path you land back at the window.
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