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Stella is an autobiographical 2008 French film directed by Sylvie Verheyde.

Coming-of-age films – particularly those emanating from Hollywood – have a habit of focusing on those in their late teens, coping with the coming of responsibility and, more often than not, sex. But there is arguably a much bigger jump to be made by those just entering their teens, as they make the move from childhood to the nightmare of puberty at the same time as negotiating the social upheaval of switching schools and taking on life lessons.Read More »

Daniele is a young man from Sant’Erasmo, an island on the edges of the Venice Lagoon. He lives on his wits, isolated even from his peer group who are busy exploring an existence of pleasure-seeking expressed in the cult of the barchino (motorboat). This obsession focuses on the building of ever more powerful engines to transform the little lagoon launches into dangerously fast racing boats. Daniele too dreams of a record-breaking barchino, one that will take him to the top of the leader board, but everything he does to further his dream and win respect from the others turns out to be tragically counterproductive. The decline that erodes the relationships, environment and habits of a rootless generation is observed from the timeless perspective of the Venetian landscape and its island outskirts: the point of no return is a foolish, vestigial tale of male initiation. Violent and destined to fail, it explodes dragging the ghost city along on a psychedelic shipwreck.Read More »

Quote:
In Correspondences, Eugene Green returns to his familiar themes of interconnectedness, communion, and transcendent love (most recently illustrated in Green’s sublime feature Le Pont des arts) to create a tale of young love in the digital age. Presented as a series of emails read offscreen that are juxtaposed against isolated frontal shots of the anonymous lovers and the (interior) spaces they inhabit, the film also subtly evokes Alain Resnais’s baroque, nouveau roman puzzle film Last Year at Marienbad in its interplay of memory and seduction (or more appropriately, memory as seduction).Read More »

The most obscure of the films to come out of the Indian New Wave, Pahla Adhyay is Vishnu Mathur’s only film. In the anti-expressionistic style of auteur Mani Kaul, the film is closer to Ozu than Bresson as one witnesses the same spaces being repeated as the alienation of the lead character, a student is played out in the background of the city of Bombay in the early ’80s. The film explicitly challenges Bollywood’s contemporary representations of the city, especially in the way it uses Dinesh Shakul’s minimalistic acting (modelling), emphasizing the actor as a body occupying a space instead of an expressionistic face.Read More »

In the 1920’s, when Taiwan is Japan’s colony, the small town Chiu-Fen was famous of its gold mines. Escaping from the landlord’s control, Chu and Wei join the gold rush in Chiu-Fen, hoping that they can be rich and have their own land some day. The are two kinds of women in the small town : hard working housewives and prostitute. The formers are always struggling in poverty. Jou is one of them. People believe that she is doomed to be a widow. She married twice. Both of her husbands are dead. Che falls in love with her anyway. He becomes her third husband in despite of people’s warning. Many of the masters of brothels make a future from prostitution business as well as the black market of gold. Wei loves Fumiko, a young prostitute. He decides to buy back her freedom.Read More »

Delia, a young Romanian girl, comes to Bucharest with her parents to collect a prize she has won in a contest organized by a soft-drinks company. The prize is a beautiful new car. All Delia has to do now is appear in front of the camera in a commercial. All goes well until it becomes clear that Delia and her parents have very different ideas about what to do with the new car. Meanwhile, the contest’s sponsor needs a radiant prize-winner with a gleaming smile. A wicked satire and a psychological portrait of a society perverted by its slavery to capitalism and consumerism.Read More »

Synopsis wrote:
The film is based on an actual event, the murder of a Greek worker living in Germany by his barmaid wife Eleni and her lover Christos, who falsify the evidence of the husband’s return to Germany but are suspected by a sister-in-law and eventually accuse each other of the crime. A woman murders her husband, upon his return home after a long absence, with the complicity of the lover who has relieved her loneliness. Costas Ghoussis, an emigrant recently returned to his native country, is coming back from the fields, a shovel on his shoulder. He pushes open the garden gate in front of his house and calls his wife: Eleni! She does not answer; the reason: she is hidden behind the door of the kitchen with another man, Christos, a gamekeeper, the lover that she took during her husband’s absence. Just as Costas crosses the threshold he is attacked and strangled. Read More »

This is a story of young people from nowhere, a story about anatomy of a break-up and finding yourself.Read More »

Synopsis wrote:
A journalist (Grigoris Patrikareas) is conducting an investigation regarding the refugees in Northern Greece and the immigrants who are detained at the border. He meets a man (Marcello Mastroianni) who resembles a politician who has gone missing. His wife (Jeanne Moreau) is summoned to identify him, but when she sees him she states that he is not her husband. The man’s identity remains unknown in a world where natural borders are not just a place of transition, but also an end, a no-man’s land, the end of a century.Read More »