Arthouse

“A lonely and dejected woman (Amira Casar) learns that only when all inhibitions are cast aside will she be able to truly understand the truth about how men see women in this erotically charged exploration of sexuality from controversial director Catherine Breillat. Teetering on the edge of overwhelming ennui, the woman pays a man (Rocco Siffredi) to join her for a daring, four-day exploration of sexuality in which both reject all convention and smash all boundaries while locked away from society in an isolated estate. Only when the man and woman confront the most unspeakable aspects of their sexuality will they have a pure understanding of how the sexes view one another.”Read More »

I gaze on the moon
As I tread the drear wild,
And feel that my mother
Now thinks of her child;
As she looks on that moon
From our own cottage door,
Thro’ the woodbine whose fragrance
Shall cheer me no more.
Home, home, sweet sweet home,
There’s no place like home,
There’s no place like home.
—”Home, Sweet Home”
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Set in the 16th century, an ambitious young samurai is adopted into a noble household, thereby attaining the necessary status to marry the daughter of the castle warden. Plans for the marriage are jeopardized, however, when a beautiful young woman, claiming to have lost her memory, appears. The enamored samurai marries her instead, but lives in constant fear that she will recover her memory.Read More »

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As young children, Otto (Fele Martínez) and Ana (Najwa Nimri) become best friends, leading to the marriage of Ana’s mother, Olga (Maru Valdiviesio), to Otto’s father, Álvaro (Nancho Novo). When Otto and Ana become teenagers, they begin a sexual relationship, which they hide from their parents. The two fall deeply in love and seem destined to spend the rest of their lives together. However, their relationship is tested when Otto’s mother dies and the two are separated.Read More »

Synopsis:
I am Sergei Parajanov! shot a few months after Parajanov’s death. Features archive photographs, his collages, the clips from Sayat-Nova (1968), Ashik Kerib (1988), the making of The Legend of the Surami Fortress (1984) and a few views of the house he lived.Read More »

A timeless Carpathian story – the young Ivan falls in love with the daughter of his father’s killer among the Hutsul people of Ukraine.Read More »

“I was interested in whether it was possible to tell the inner life of a relationship, the things you can’t express to a third person. When Gitti and Chris come home after the holiday, and someone asks her, “How was it?” she probably wouldn’t be able to tell what happened.” Maren Ade.

Everyone Else is a subtle dissection of the truths and cracks of a relationship – a relationship that, like any other, embodies love as well as power, respect as well as moments of dissolution. Spending the first days of their vacation in Chris’ family home in Sardinia, Chris and Gitti are the ideal couple. They play, make love, talk and make love some more.Read More »

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A lyrical portrait of life in a contemporary Armenian village following the devastation of an earthquake and the fall of communism.

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Kievski Freski Dir Sergei Paradjanov (Kiev Frescos) 1966. 35mm. 13 mins
Paradjanov assembled this “film collage” from the rushes and tests that remained unscathed after the Soviet authorities halted the production of Kiev Frescos and ordered the negative to be destroyed.

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When the Soviet authorities were imposing on a multi-national country the artificial conception of a “homogeneous Soviet people”, Paradjanov was defending those nations’ very diversity and uniqueness. Through films and documentaries (both by Paradjanov and others), this programme attempts to trace Paradjanov’s creative journeys through Ukraine, Armenia and Georgia.

Soon after the Soviet authorities stopped the shooting of Kiev Frescos (Kievski Freski) in 1966, Sergei Paradjanov left Dovchenko film studios in Kiev for Armenfilm in Yerevan. There he started work on a feature length homage to Sayat Nova, the pseudonym of the Haroutine Sayadian (Tblissi, 1712 – 1795), an Armenian poet and bard, who wrote in Armenian, Georgian and Azerbaijani.Read More »

Canadian director Guy Maddin (THE SADDEST MUSIC IN THE WORLD) takes his quasi-documentary strain of filmmaking to a satisfying, and deliriously inventive, extreme with MY WINNIPEG. The film follows Maddin, who narrates and plays the character … Full Descriptionof Darcy Fehr, as he tries to escape the Canadian city of Winnipeg. Maddin grew up in Winnipeg and spent his entire life there. The city seems to be casting a magnetic hold over him, so he decides to film his way out. He moves a cast of actors into his childhood home, asking them to recreate pivotal moments from his upbringing. Here the family gathers to undertake mundane chores and to watch a TV show named “Ledge Guy.” The show stars Maddin’s mother as a woman who tries to stop her son from committing suicide in each episode. Maddin couples these scenes with a warped history of Winnipeg, which include stories of a legendary racetrack fire and the sad tale of the city’s ailing ice hockey team. MY WINNIPEG finds Maddin sticking closely to the filmmaking style that he developed in features such as COWARDS BEND THE KNEE. The film apes silent-era techniques; shots fall in and out of focus; and Maddin uses Super-8, 16mm, and even a cell phone camera to help drive his vision.Read More »