Paul, an irritable and stressed-out hotel manager, begins to gradually develop paranoid delusions about his wife’s infidelity. As he succumbs to green-eyed jealousy, his life starts to crumble. Each step on his downward spiral to madness seems to accelerate, driving him further along the path to a personal hell. Finally, the former shell of his personality cracks completely, with tragic consequences.
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A serial killer uses a horror video rental to lure his next victim. What begins as a teen slasher transforms into a disturbing journey through the mind of Max Parry, a mild mannered wedding photographer with a taste for human flesh.
Evoking mixed marriages and their difficulties, the author depicts the journey of a young black husband, an elegant dandy, who has come to Paris to find his young white wife and their little daughter. This social satire is the feature-length directorial debut of Désiré Ecaré, originally from Côte d’Ivoire.
A quality war film does not necessarily need spectacular aerial dogfights and bombed cityscapes. Only those movies have truly something to say that go beyond the crack of rifle fire to present personal dramas as well. Ferenc Kósa’s unusual, pacifist war film depicts the hell of carnage in all its senselessness. Characters of this gaunt, tight-lipped story wander through a beautiful landscape seeking their own truth or just the possibility of survival. The film is all the more memorable for the cinematography of Sándor Sára, the powerful screenplay and the acting of, for instance, Péter Haumann.
Two obsessive-compulsives, a chef and an anorexic writer, are neighbors in an apartment building. The chef (301) tries to entice her neighbor to eat with fabulous meals. The writer (302) refuses to eat, and this refusal begins a turbulent relationship that forces both women to delve into their pasts of torment.
One of the most sublime color films ever made, Ballad of Orin follows the hardscrabble life of a wandering outcast goze (blind female musician) in early 20th-century Japan. Cinematographer Kazuo Miyagawa and director Masahiro Shinoda interviewed surviving goza of the time to capture “a sense of the ideal beauty that these blind women had inwardly visualized.
“There are in life faces which, at first sight, appear unremarkable, but when seen through the camera or when projected on screen they become extraordinary. Behind every expression lies an entire life, a destiny,” Ferenc Grunwalsky once declared. While making a sociological documentary, the director-cinematographer came across a young mother who so caught his attention that he decided to devote an entire portrait film to her. In the absence of dialogue, the most minute expressions become the film’s ‘protagonists’, and instead of explanatory narration and captions the power of imagery prevails.
A week in the life of a cosmetics salesman who visits beauty salons to beat his way through the after-work hours. His journey across a wintery Switzerland of grey suburbs and villages takes him via hairdressers shops, hotel rooms and sleezy bars to construction sites and fairs, over snow-covered mountains and through spooky shopping zones back to his home parking lot. He meets people of every stripe, chats, argues and remains silent with them and never gets rid of his silent companion, the melancholy of isolation.