Synopsis
In Gossette (1923), Dulac experimented with and designed a number of special lenses and prisms to produce a variety of effects and multiply the expressive means which translate the characters’ visions and mental states. She also reversed class and gender roles, as she made the female character Gossette come to the aid of Phillipe de Savières, falsely accused of murder, in order to save his name.Read More »
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Züli Aladag’s critically acclaimed, but controversial movie deals with the conflict of Can, son of Turkish immigrants, and the Laubs, a supposedly liberal middle class family. Simon Laub, professor of literature, and his wife Christa, real estate agent, live with their son Felix in a safe and quiet Berlin district. However, Felix gets in trouble with Can, son of a Turkish greengrocer, who starts to tyrannize the family. As he is annoyed by the boy’s attacks, Simon -despite his political correct attitude- humiliates Can, which starts a vicious circle of anger and violence…Read More »
Two young people leave city life for the simplicity of life in the province. Unfortunately, the beach they are going to live next to is being polluted by a local factory.Read More »
“Sensual Performances, excellent acting and the great Arabic music only add to the film’s garden of earthly delights.”
– Flaunt Magazine
A widowed Tunisian seamstress takes an unlikely journey of self-discovery in writer- director Raja Amari’s sumptuous and sensual Satin Rouge. While investigating a suspected liaison between her headstrong teenaged daughter and a cabaret musician, young widow Lilia becomes drawn to an exotic nightclub netherworld of Rubénesque belly dancers and nocturnal pleasure- seekers. She strikes up a friendship with one of the dancers, then eventually takes the stage herself-quickly becoming the favorite of both cabaret patrons and the club’s hot-blooded drummer. As she gradually sheds her shapeless, matronly housedresses for the flamboyantly sequined bar-girl garb, she also begins to emerge from her cocoon of melancholy and loneliness.Read More »
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Inasmuch as Manoel de Oliveira’s films convey what Randal Johnson describes as a cinematic hybridity that illustrates the amorphous nature of representation, No, or the Vain Glory of Command also reflects a temporal hybridity, where time is presented as a conflation of seemingly arbitrary, but integrally connected history. Opening to a long take of a large ancient tree shot from a moving camera platform in the African wilderness, the correlation between enduring image and its representation through a constantly shifting point of view also serves as a contemporary metaphor for Portuguese history itself, where its consequences continue to be re-evaluated through the shifting perspective of an increasingly marginalized legacy. Read More »
Karin (Gunn Wallgren) is a young servant girl on a Swedish farm. She has a Jekyll-and-Hyde personality: her better side enjoys all the human emotions of love, kindness, and romance, while the evil being within her is controlled by the Devil (Stig Jarrel) to bring revenge and destruction upon a farmer and his family.Read More »
“Visions” is a collaborative film that consists of ten short films made by female filmmakers from the province of Pontevedra. Ten genuine glimpses into which cinema and art merge into intimate, polyhedral production.
Eva Calvar, Sonia Méndez, Olaia Sendón, Claudia Brenlla, Andrea Zapata-Girau, Begoña M. Santiago, Carme Nogueira, Lara Bacelo, Diana Toucedo and Carla Andrade participated in this collective project.Read More »
With Anton Rodgers, Lucy Gutteridge, Julian Holloway, Rosalind Ayres.
When Sophie, the manicurist, learns that her best friend Muriel is to be married to the notorious and middle-aged Lord Quex, she determines to prevent it by exposing him for the despicable roué he is. But her plans go badly wrong. Pinero’s bitter-sweet comedy, first performed in 1898, scandalised the playgoers of the day with its unblushing portrayal of marital and sexual mores.
Adapted from the play by the British writer Arthur Wing Pinero.Read More »
Fear of Blushing bursts forth with irrepressible hand-painted color, corroded emulsion and a menacing soundscape of looped voices, distorted instrumentals, samples & rhythm. Fleeting visions and voices erupt out of the ominous abstraction in unusual juxtapositions, suggesting a cinematic free-association marked by anxiety, pleasure and shame. Best appreciated in the immediate; the 7200 painted frames fly by at an average of 12 per second.Read More »