Arthouse

In the final days of the war, a beautiful young widow, Duyen, faces a daily struggle to take care of her young son and ailing father-in-law, all the while hiding from them the fact that her husband has recently been killed in battle. Keeping her secret burden to herself, she is befriended by the village schoolmaster, Zhang, who agrees to fabricate letters from her dead husband in order to spare her family sorrow. As their friendship deepens, Duyen and Zhang find themselves drawn closer to intimacy – a dangerous relationship if Duyen if to maintain her charade.Read More »

Synopsis:
“My little son, it’s me, your father…” The narrator tries to communicate with his unborn son and takes off on a journey were you see faces of apparitions of those outcasts, who find their solace of living only in the shadows; outside, but beside, the political and economical system; system that kills the individual and creates masses instead. These outcasts are bums, cripples, madmen, lunatics. They, in the eyes of the narrator, are the only ones, that know what it means to be human. They are not corrupt by the masses or the system; they are so overwhelmed by their madness or dreams, that they have lost the relationship with the world. They live in a world of their own, thus enabling freedom from the system. What they do, is wait. They quietly wait for the day the kingdom of God will descend upon earth.
— DrStrangelife (IMDb)Read More »

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TELLING TALES is about the failing marriage of an industrialist and his wife, about the industrialist’s wish to sell his company to a colleague, Paul Roberts, and about the terminally ill wife of Paul, Ingrid. It is also about the shop steward organising a strike at Paul’s factory that jeopardises the deal with the industrialist, and about the wife of the shop steward, who happens to clean and cook for the industrialist. A network of intertwined tales told in different ways, and for very different motives, by the main protagonists.Read More »

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A joinery instructor at a rehab center refuses to take a new teen as his apprentice, but then begins to follow the boy through the hallways and streets.Read More »

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Set in 1935, a couple of aged smallholders are waiting for their son, for rain, for better days.

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Paz Encina was born in Asunción, Paraguay and earned her M.A. from the Universidad del Cine in Buenos Aires. She has directed several award-winning short films, including La Siesta (97), Los Encantos del Jazmín (98) and Supe que Estabas Triste (01). Hamaca Paraguaya (06) is her feature directorial debut. She has won FIPRESCI Prize At Cannes Film Festival In 2006 for this film.Read More »

An English girl and an Indian elephant, born on the same day, share a common destiny.

Tusk review contributed by Steve Puchalski at Shock Cinema

Even though my print of this ultra-obscure Jodorowsky pic was in French with NO subtitles, you really don’t need a translation in order to get the gist of this self-termed “fable panique.” Set in turn of the century India, Jodorowsky drops most of his crazed mystical/religious/hallucinogenic stylings in order to tell a relatively straightforward story of a little girl, Elise, and a little elephant, Tusk, both of whom are born at the same time, and how their lives interconnect over the years (yawn). It begins on a good note, with Jodorowsky intercutting an elephant and a woman, each giving birth.Read More »

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A Russian town where people are waiting at a bus stop. We get to know some of them from fragments of their conversations.Read More »

A young man living in a cold southern village in South America, decides to start a trip looking for his father. By doing this he discovers unexpected facts about his latin American essence.Read More »

When the film Son nom de Venise dans Calcutta désert was initially shown in 1976, many viewers found it hauntingly beautiful but deeply perplexing. Some, seeing it as a sign of Duras’ inability to separate herself from the making of India Song, even ascribed the film to a kind of postpartum depression. Since that time, the film has been placed in perspective as an inseparable component of the India cycle as a whole, although little has been written, with certain notable exceptions, on its specific relation to the other works. Son nom de Venise dans Calcutta désert is a purely metanarrative epilogue that culminates the progressive decomposition of spectacle as well as the dismantling of the neocolonial subject conceived as specular identity that was initiated by previous works in the India cycle.Read More »