Between October 11 and November 5 of 1968, teenager Norio Nagayama murdered four people in a killing spree across Japan with a shotgun stolen from a U.S. Army base. Adachi Masao, together with cultural theorist Matsuda Masao, scriptwriter Sasaki Mamoru and other collaborators, set out to trace the young man’s footsteps with a camera in hand. The result is an experimental documentary comprised purely of landscape shots, each of which shows scenery that Nagayama may or may not have seen during his upbringing and journey. Seeking an alternative to the sensationalism found in the media’s depiction of serial killers (which continues to this day), Adachi’s sparse voice-over provides only the hard facts while the increasing number of billboards in the landscapes slowly reveal the hegemony of capitalism in contemporary Japan.
Renowned Egyptian director Youssef Chahine established his international reputation with Cairo Station after it screened at the Berlin Film Festival. Focusing on a group of marginalised luggage carriers and soft-drink sellers who live in abandoned traincars, Chahine posits Cairo’s main railroad station as a microcosm of Egyptian society. A crippled newspaper dealer (played powerfully by Chahine himself), falls in love with a beautiful but indifferent lemonade seller who is engaged to the muscular and virile leader of the luggage-carriers. Swept away by his obsessive desire, the crippled man kidnaps the object of his passion, with terrible consequences.
Using almost no dialogue, the film follows a number of residents (both human and animal) of a small rural community in Hungary – an old man with hiccups, a shepherdess and her sheep, an old woman who may or may not be up to no good, some folk-singers at a wedding, etc. While most of the film is a series of vignettes, there is a sinister and often barely perceptible subplot involving murder.
Tashkent Station in the Uzbekistan capital: Passengers rush to catch their trains. A couple, locked in an intimate embrace, so deeply affects the train driver that leaves the train standing and makes a fundamental change in his life. A miniature by Veit Helmer.
Felix in Exile was created in 1994, a momentous time when South Africa was transitioning through a social, political and economic revolution to a new post-Apartheid society, with new uncertainties and struggles ahead. William Kentridge states that, although his work does not focus on apartheid in a direct and overt manner, but rather on the contemporary state of Johannesburg, his drawings and films are certainly spawned by, and feed off, the brutalised society that it left in its wake.
Dr. Carol Evans, a physician who recently conspired with her lover Gus to kill her rich husband for his inheritance, finds herself being blackmailed by him for a share of the money. Carol seduces Brian, a young motorcycle-accident patient of hers, in the hope that he’ll help her kill Gus. When Gus is killed in a struggle, Carol coerces him into hiding the body, but finds herself being investigated by Brian’s friend David, an amateur sleuth, who has always believed her to be a murderer.
Budapest, in the ’80s. Géza and his family living in the block flat microdistrict. One morning Géza meets a young lady in the elevator. This moment change his life. On the same day he quits his factory job and decides to start his own business: became a wall driller, as there a big demand for it in the neighborhood.
Dramatisation of the Bakiga people’s attempt to cultivate the Kigezi district of Uganda, region inhabited by Pygmies. Jonathan, educated clerk, son of the village’s chief, goes along with other men’s of the village to build the new farms. Injured in a movement of buffaloes, he is helped by some Pygmies villagers with who he becomes friends. When returning to his people’s settlement, his peers don’t see these new acquaintances in a favorable light.