Nabat and her husband Iskender, an old and sick ex-forestry worker, live in a small isolated house far from the village. The war in Nagorno-Karabakh has been raging for some time and their son has been killed at the front. Their sole means of survival is the sale of milk from their only cow that Nabat takes to the village every couple of days. As the shadow of war envelopes the region the village is slowly deserted by its inhabitants. Following Iskender’s death, Nabat has to survive in a now abandoned village under the regard of a she-wolf.Read More »

Movie serial “Vendemiaire” depicts a registering nationalist and regionalism concerns about the effects of the First World War.

« Réalisé dans les derniers mois de la guerre (sa sortie eut lieu en janvier 1919), en décors naturels, dans le Languedoc, ce film est une œuvre maîtresse de Louis Feuillade. Sous couvert d’un drame patriotique sur les civils en temps de guerre (les combats restent hors champ), structuré en un prologue et trois parties (« La vigne », « La cuve » et « Le vin nouveau »), il propose un film dont le réalisme quasi documentaire n’est cependant pas dépourvu de lyrisme et de poésie. Le récit, non chronologique, s’organise selon une narration présent/passé où alternent des séquences concernant les vendanges et le conflit au moment de l’invasion des régions du nord par les troupes allemandes.Read More »

An enigmatic young woman in conflict – torn between reason and passion; between her woman’s body and being raised as a prince; between the ancient and modern worlds and between the brilliance of her educated mind and the conservative forces around her. Crowned Queen at the age of six, Kristina of Sweden was thrust into a labyrinth of power and tradition, where a court of austere, Lutheran men pressure her to marry and produce an heir to fulfill her destiny. She finds sanctuary and love with her lady-in-waiting, the beautiful and elegant, countess Ebba Sparre, although the Chancellor, Axel Oxenstierna, pressures her to pair with his son, Johan. Soon the forces around the Queen realize that Ebba is the key to controlling her, but they underestimate Kristina’s brilliant mind and her drive to be free.Read More »

Synopsis:
Nuns of the ‘Sisters of Mercy’ convent in the middle of the West Bank
wilderness have their daily routine of silence and prayer disrupted
when a family of religious Israeli settlers crash their car into the
convent’s wall.
The Sabbath is approaching and they need to get home urgently,
however, because of the Sabbath laws, the Israelis can’t operate a
phone to call for assistance, and the Nuns have taken a vow of
silence. Together they have to come up with an unorthodox plan to
help them get home.Read More »

Synopsis:
Greenwood has a truly debilitating stutter but we hear his inner thoughts through voiceover and his online conversations with his only friend and love of his life, Ellie. Outwardly a mute, Greenwood is sweet, witty and charismatic on the inside. Ellie surprises Greenwood with the news that she has travelled to his city for a few days and he is suddenly faced with the truly daunting task of meeting her in person for the very first time.Read More »

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James, a twenty-something New Yorker, struggles to take control of his self-destructive behavior in the face of momentous family challenges.Read More »

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73-year-old De Oliveira decides to make a personal movie that his audience will only know once heis dead. In 1982, the director takes the decision to make a movie about (and in) his (ex) house, in which he lived for over 40 years. The initial still shot is held for a long while with the presence oftrees in the garden of his house in Oporto. De Oliveira himself introduces the film and speaks all the credits out. The voices of a man and a woman guide us for most of the first part, in a sort of preliminary and formal tour around the totality of the house. They remain out of frame and the camera perspective is not necessarily theirs. After a few minutes, we see De Oliveira for the first time, writing on a typewriter at his desk. The most surprising element, in narrative terms, is the recreation of his arrest and his stay in a dungeon in times of the Portuguese military regime, during the 60s. Right from the start, the word memoryis a relevant operative term; the confession becomes explicit around half through the film.Read More »

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If Joaquin Phoenix met Carole Lombard in their twenties by the sea you would get the sizzle we feel in Jakob Lass’ Love Steaks.

Clemens (Franz Rogowski) arrives as a trainee at a Northern German seaside spa. He does massages, aromatherapy, and is being taught how to suck bad energy from the guests by circling his hands above their bodies. Lara (Lana Cooper) is a playful cook in the resort kitchen, constantly initiating acts of mayhem for her colleagues to react to.

As living quarters, Clemens is allotted a spacious storage room at the spa, where laundry carts are kept moving about and unused replacement garbage cans sit ominously. He has no private bathroom – no privacy to speak of at all, as there is no door – but a fabulous view of the ocean. Clemens is shy, sincere and in over his head on all accounts. Lara is bold and sexy-stupid, not in the dumb-blonde romantic comedy vein, rather mad-cap provocative. She seduces with a daring absurdity and her tango with Clemens is superb. Rogowski, a trained dancer, gives Clemens the fragility he needs to balance her shenanigans.Read More »

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Centred in the two thousand year old city of Guimarães, three renowned directors, Jean-Luc Godard, Peter Greenaway and Edgar Pêra, explore 3D and its evolution in the world of cinema. How does 3D affect the audience and their perceptions?Read More »