A mad man prematurely goes out of a psychiatric hospital and pretend to be Hitler’s son to go back in.Read More »

Storyline: The third movie ,that Stawinski created with his wife Helene Amiradzibi had to be dreamy story about human loneliness, oscillating between realism and surrealism. To break out main character from real time and space ,Stawińscy decided to shoot the entire film in the studio. Makeshift houses, movable walls, artificial snow emphasize the conventionality of the presented world and pay attention to the inner experience of man.Read More »

Phillipe Scheffner’s film is about Indian soldiers detained in a German War Camp during World War I. Here is a synopsis from the official website:
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“There once was a man.
This man came into the European war.
Germany captured this man.
He wishes to return to India.
If God has mercy, he will make peace soon.
This man will go away from here.”Read More »

Wanting to quit sex work in Manila and start a new life elsewhere, Sofia, a transgender woman (played by the director himself, Vincent Sandoval), gets her chance when an old friend asks Sofia to look after her 12-year-old son Tomas while she works overseas for a year. Sofia packs her bags and moves to Talisay, a small town, where she reinvents herself as Donna, guardian of young Tomas. As she’s about to settle into this quiet, idyllic life, the past creeps up on Donna– she discovers that town mayor Tiongson who is seeking re-election is a crony of her regular client back in Manila, Verano. Determined to erase any trace of her past from her new life with Tomas, Donna discreetly hatches a plan to remove Tiongson from power and rid the town of Verano’s influence. As election season begins, Donna offers to help the campaign of Tiongon’s opponent, who is unaware of Donna’s true motives. To finance his campaign, Donna decides to return to Manila once a week for sex work – under the guise of joining gay beauty pageants. As the stakes get higher, Donna realizes that there is no easy way out of the double life she is leading.Read More »

Marion is 18 years old. She is filled with grief since the loss of her sister, and has reached an age where she feels a vital need for freedom. On the anniversary of her sister’s loss, she embarks on a journey through the streets of Paris. What follows is an evening of encounters with some familiar faces in a city that youth no longer relate with, until Marion meets the impulsive and free-spirited Alex. A reunion of two solitudes, their path will evolve into a rhythm of wandering in the city, like a journey into the night.Read More »

The story is about a young single mother who is compelled to make her way at risk of her life to Ckhinvali, where her son is, whom she had sent there on the eve of the conflict. The film can be divided into two parts that alternate one with the other: one shows how in the eyes of a young boy the South Ossetian conflict transforms into a fantastic war story with super-robots, and the second shows the reality of the war situation and the journey of the main heroine.Read More »

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La Estrategia del Caracol (English: The Strategy of the Snail) is a 1993 Colombian comedy-drama film directed and produced by Colombian filmmaker and director Sergio Cabrera. The film is starred by Frank Ramirez, Florina Lemaitre, Humberto Dorado, Fausto Cabrera and Carlos Vives. The film is a winner of the Berlin International Film Festival and the Biarritz Film Cinema Festival of Latin America. The film deals with the hardships of low income class families in Bogota. The breach between rich and poor and their interactions in a highly stratified social system.Read More »

Stolen Apples for Karen Blixen is a three-minute black and white film which begins with a portrait of Karen Blixen taken from a photograph.Read More »

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Rare is a film like Eugène Green’s Le Monde Vivant (The Living World), one of such humor, wit, whimsy, and spirit told in a mode so strict, formal, and minimal. It is a fable, or a fairy tale, or a certain way of looking at reality if you like, but it is impossible not to suggest a child-friendly and cheerful homage to Robert Bresson’s Lancelot du Lac. The Bresson comparison is inevitable, what with Green’s frank simplicity in framing, his deliberating speaking and minimally performing actors (resembling Bresson’s “models”), and most importantly his respect not just for each individual shot, movement, and line of dialog, but in the accumulation of these things.Read More »