A young English tourist called Annabel meets a Greek shepherd during her vacation on a Greek Island. On their first encounter in a field, the shepherd approaches Annabel wanting to give her some almonds but scared of his rustic and rough appearance she misunderstands his intentions and runs away. Soon, he is found in prison accused of the supposed rape of Annabel. She regrets overreacting and tries to persuade the authorities to release him.
José Mojica Marins, a director of horror films about the diabolical Coffin Joe, is spending Christmas with friends. Household members go violently mad for no reason: first grandpa, then the hosts’ daughters, one of whom, Vilma, is about to get married. Mojica discovers that Vilma’s mother made a pact with a witch in order to become pregnant with Vilma, promising this first-born child to Satan; her impending marriage to a human is stirring up things supernatural. It what seems like a dream, Mojica enters a bacchanal in which an entranced Vilma is about to wed to Satan’s son; the master of ceremonies is none other than Coffin Joe. Can Mojica defeat his own creation and save Vilma?
Based on an actual incident, this is the story of five girls who are among the 200 women who answer a want ad for a modest secretarial position one rainy morning in Rome in 1951. They crowd and push their way into the old building and fight their way up the stairs to await an interview, only to be told there is not enough time to interview all. A scuffle breaks out and the stairway collapses sending many of them hurtling down in a mass of bodies amid brick and mortar.
Aging German man Heinz Alfred Geise is a successful business owner whose past is quite haunting; during World War II he helped orchestrate a Nazi-led bloodbath in a small Greek village. When this secret is exposed in a newspaper article, it causes his son, Andreas, to try to kill both his father and himself.
Though made in Germany, this film version of Johann Strauss’ comic opera Die Fledermaus was distributed in the U.S. by the Russian firm of Artkino. Such full-throated singing personalities as Marte Harell, Johannes Heesters, Willi Dohm and Haus Brauseweiter go through the time-honored paces of the opera’s libretto, wherein an upper-class Viennese gentleman simultaneously tries to avoid arrest and to prove his wife’s fidelity.
Oliveira returned to the center of Portugal’s film scene in the 1960s with Acto da Primavera, a work that marks a significant change in the director’s trajectory and that initiates some of the cinematic strategies that he would develop more fully in later films. In Acto da Primavera, Oliveira offers a version of a popular representation of the Passion of Christ, enacted by members of a rural community in northern Portugal, derived from the Auto da Paixão de Jesus Cristo (1559), by Francisco Vaz de Guimarães.
Marisa Fuentereal remembers the days of resistance in the sanctuary of the Virgen de la Cabeza. There he met Aracil, a man of extremist ideas that saved her from enemy troops, then Captain Cortés, who died in the final battle with the most defenders.
Infidelity threatens to break up a marriage in this evocative feature from legendary Japanese director Mikio Naruse. Tsuma concerns the struggles of a woman who finds out that her husband is cheating on her; to avoid the stigma of a broken marriage, she decides she’ll do whatever it takes to keep him with her. Tsuma was adapted from a story by Fumiko Hayashi, who wrote about women’s cultural struggles in 1950s Japan and whose writings formed the basis for five other Naruse films.