A young man tries to charm a figure similar to himself.
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Can an adolescent experience define our perception of love? Can or should everything be connected or have a reason? A character recounts to his niece or nephew, in the form of a confession, an event from his adolescence that defines his particular way of perceiving love. While this exercise serves to tell a story that, regardless of genre, has surely been experienced by more than one person, it expresses the director's idea that discourse can sustain a work on its own, even if what is depicted on screen appears to have no connection.
In this video essay, the filmmaker reflects on the contrast between himself and the space around him, a student dormitory.
Using footage filmed in Peru in 1950 by a foreigner, Víctor writes a letter to his son to question the country he will inherit: among heartbeats and ruins, he searches for a hope that still endures amid disillusionment.
Growth is beautiful, and often progress, too, but if it's not measured, growth can be predatory. Made using the principles of essay film, and using an anonymous character, this film chronicles and critiques how provincial cities grow, change, and gradually lose their identity.
In trouble with the local authorities, Mabel Simmons, notoriously known as Madea, is on the run from the law. With no place to turn, she moves in with her friend Bam who is recovering from surgery. Unbeknownst to Bam however, Madea is only using the "concerned friend" gag as a way to hide out from the police.
Lightning streaks through the skies as Dalila declares her love to Samson in one of the finest arias of romantic opera. “My heart awakens to your voice like a flower to the kiss of dawn.” An enchanting yet treacherous beauty… When the thunder at last rumbles, Dalila betrays Samson and offers him up to his enemies: “Come up, for this time he has shown me all his heart”, she whispers to them in the night (The Old Testament, Book of Judges). Based on a violent and erotic biblical story, Saint-Saëns’s opera – composed in 1877, much to Liszt’s insistence – would not be performed at the Palais Garnier until fifteen years later. This first Parisian performance in 1892 included the hitherto unperformed “Dance Of The Priestesses”. Nevertheless, it became one of the most performed French operas in the world, together with Faust and Carmen. Conducted by Philippe Jordan, this new production brings back a repertoire masterpiece that has not been performed at the Paris Opera for twenty-five years.
A quiet and put-upon house cleaner breaks her silence.
A short film about love, told backwards.
Anna is a surgeon and, like her husband Gunnar, works at the hospital in a small town in the Mecklenburg Lake District. They have built a good life here with their son. Anna is torn out of her usual routine when a child suddenly suffers an allergic shock after a routine operation, which was triggered by an antibiotic that Anna had not been given. A medical mystery for Anna until she finds out that the clinic has a massive hygiene problem. The more unpleasant truths Anna uncovers, the more hostile she becomes. Anna is faced with decisions of conscience that could bring down everything she has built up so far.
Kostja, the German-Russian, and Beatrice, the German-African, have a big argument at night. Beatrice leaves the apartment and leaves Kostja behind with the baby, reinventing herself as an architect and psychologist, as an actress and screenwriter, while Kostja, the bicycle messenger, tries in vain to find somewhere to put his child. At some point he loses it. All three experience their odyssey through a Berlin summer day.
A coming-of-age tale with a difference about the grumpy doctor Annebarbel Buschhaus donning her ice skates again at the age of 58 after an absence of 40 years. Back on the ice, she tries to revive long suppressed childhood dreams – and makes a new friend, Jolina Kuhn, Berlin’s youth figure skating champion. Through her new friend, Annebarbel begins to open up and break away from her dominant mother.
After 10 years separation from his wife, a film director (Jean-Louis Trintignant), imagines he can make up with her by giving her a part in his next film, an adaptation of Tshekov's "Three Sisters". He goes location scouting and stays in Bex, a Spa near Lake Leman, together with the three actresses : Julie, his ex-wife (Delphine Seyrig), the mysterious Cecilia, that his producer wants him to take (Lea Massari), and Esther (Valérie Mairesse), a teenager. They all stay in an old decaying hotel. In this isolated mansion the four of them will fight but also discover each other.
This Hungarian film chronicles the slow deterioration in the life of Juli, a farmer's wife. As the countryside grows ever more deserted because people are moving to towns or large collective farms, she spends more and more time alone. Despite her best efforts to appreciate her situation, her despair grows. The loneliness is briefly interrupted when she and her husband take in an old woman and care for her, but the woman dies. Shortly after her son visits, she is killed in an accident which may have been a suicide. ~ Clarke Fountain, Rovi
In order to get his family back, Frank must transform internally and overcome his fear instilled in him by his father since childhood. And in the process of his turbulent spiritual journey and self-discovery, he creates a Martial Arts "Transformational Training Method: H.I.G.H. K.E.Y. F.I.T.N.E.S.S. which in turn he utilizes to lead and metamorphosize an inner-city High School Karate team from last place to first place in the state. These teenagers get to realize their unlimited God-given potential to overcome barriers and break down their limited beliefs and become positive contributors to society.
