Beatles’ “significance” pushed to the breaking point in this bizarre documentary that juxtaposes their songs (sung by a number of rock stars) with World War II newsreel footage. Helen Reddy sings “Fool On The Hill” while Hitler relaxes at Bertchtesgaden, and Rod Stewart husks “Get Back” while Nazi troops goose step.
During World War II, by way of covert communication in besieged Sofia, Veska joins a group of teenage anti-fascists. Here she meets Dimo, a handsome, passionate member of the small but ferocious resistance. As the group strives to thwart Nazi advancements in Sofia, romance blossoms between Veska and Dimo. With an ambitious stylistic eye, Zhelyazkova masterfully directs a story of forbidden love and the relentlessness of teenage conviction.
The fundamental questions of human life about guilt, repentance, and redemption are addressed in the two-fold documentary essay delving into the grief of the women from Sliven Prison who give birth to their children behind bars. Binka Zhelyaskova anatomizes a deep collective trauma through the unique stories of her heroines. The film wasn’t screened in the theaters until 1989, following a series of changes in the country’s social milieu.
A group of boys, evacuated during World War II from London to a coastal town, form a gang and play war games. Too young to fight in the war and afraid it will be over by the time they come of age, the group members, who are also in the school’s Army Cadet Force initiate a battle with the local teenagers. Based on the novel “The Custard Boys”, by John Rae.
Mr. Kenmochi is older and loss of sexual potency. He discovers that jealousy is the remedy, reviving his loss of sexual vigor. To do so, he forces his wife Ikuko to take an interest in young Kimura, his daughter Toshiko’s fiancé.
The fauna of the megalopolis, the jungle of the supermarket, the bedlam of brothels and bars, the effect of the bars in the fog, the swaying ears of corn, the swaying of men hanging from the gallows, the ripple of water – seen by the eye of the animator in harmony and conflict and accompanied by the satirical, mocking, but sometimes pure lyrical music of Erik Satie.
A freewheeling cinematic experience, this film is the work of two filmmakers who relate their perceptions of each other through their respective animation techniques. Images and words are paired in startling associations. Each does a visual portrait of the other, based on characteristic gestures and impressions. A combination of techniques and materials produces a film of rich visual texture shaped by the hands and heads of two very different people.
Set over a single early-1960s summer in one of Sarajevo’s mahalas, the plot follows the fortunes of a school boy nicknamed Dino. Simultaneous to being enthralled with a life that flashes before his eyes and ears in the local cinema and youth centre (where, among other things, he watches Alessandro Blasetti’s Europa di notte and listens to Adriano Celentano’s 24 Mila Baci), Dino gets a taste of the world inhabited by local thugs and petty criminals. However, when he is rewarded via a liaison for providing a hiding place for prostitute “Dolly Bell”, his world is turned upside down as he falls in love with her.