——UPGRADED——
In this intense adaptation of the classic Albert Camus novel, Arthur Meursault is a bored clerical worker in 1930s Algeria who is completely isolated from his surroundings. His alienation leads to sudden, mystifying attacks of violence, and eventually culminates in his arbitrary shooting of a man on a beach. In the ensuing trial, the full extent of Meursault’s existential crisis becomes alarmingly clear to judge, jury and prosecutor.
Young Martin has been acting strange. At his school, his teacher and classmates notice that he is less talkative and more withdrawn. When those around him begin to prod, they discover that Martin’s single mother has died. Fearful that he will be sent away from home now that he has no parents, Martin looks to his friends for help. With Jerome leading the charge to save Martin from the orphanage, the first thing they decide to do is dispose of the mother’s body.
The eldest son of an aristocratic French family devises unique ways to rob church donation boxes in order to reverse his struggling clan’s failing fortunes.
A young couple passes through the village of Litan as the locals hold a Festival of the Dead. As the festival progresses, strange, and eerie events occur that reveals something sinister at work. Fearing for their lives, the couple decided to flee the village before they too become overtaken by the dark implications of the celebration and become shadows of their former selves.
The Club de Femmes (Girl’s Club) of the title refers to a Parisian boarding house, populated in its entirety by beautiful, unwed damsels. The rules of the club are quite strict, with chaperones making certain that the ladies keep a safe and respectable distance between themselves and their gentleman callers. But the mischievous Claire is determined to enjoy a rendezvous with her sweetheart Robert, and to that end she talks him into disguising himself as a woman.
Seven Women, Seven Sins represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world’s most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Young Carmilla is jealous of her friend’s engagement, and her obsession leads her to the tomb of a female vampire. The vampire possesses her and leads her to kill and terrorize the inhabitants of the estate. But is it all in her mind, or is she really under the control of an ancient vampire ancestor?
Parking is director Jacques Demy’s homage to Jean Cocteau’s 1948 masterwork Orpheus. As in the Cocteau film, Demy relates the Orpheus and Euridyce legend in a contemporary setting. Now a rock ‘n’ roll sensation (instead of the poet of the Cocteau film) Orpheus falls in love with Eurydice, who in this version is a sculptress rather than a princess. The rest of the film adheres to the familiar story. Euridyce, who is death personified, beckons Orpheus into Hell, ostensibly to revive his dead lover. A shade brighter and more buoyant than its source material, Parking is the usual Jacques Demy brew of beautiful imagery and hokey dialogue.
