Twelve-year-old Antoine falls profoundly in love with a voluptuous but suicidal hairdresser, a formative experience he never forgets. Much later in life, he seeks to repeat his romance by marrying Mathilde – also voluptuous and also a hairdresser – with whom he forms an intimate and consuming relationship in an attempt to blot out the miseries of this world from their lives.
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Ahn is a suicidal saxophonist, Mun is a violent simpleton with an I.Q. of 80, and Maria is a single mother with dreams of becoming a nun. Ahn has tried numerous times to kill himself but nothing has ever worked. When he witnesses his wife’s infidelity, it is the last straw. He gets a call from Mun, and both decide to take things into their own hands by robbing a café at gunpoint. They run into Maria, who is determined to find her baby who has been taken from her. Maria decides to use the two men to get her baby back and joins the team.
A helter skelter of late 60’s counter-culture psychedelia played in two separate screens, images of student riots, drag queens getting ready for a night in town, fires, juxtaposed against swinging hippies, Japanese women casually arranging their wardrobe, people commuting to work, and various cartoon strips, all this played over a collage of news report snippets telling about the Communist threat, radio recordings, Rolling Stones, Japanese pop tunes, and Hitler speeches, while flickering images of fires and disfigured babies flash over the screen now and again. It’s all pretty anarchic and adds up to no concrete narrative but it all makes sense in a purely audiovisual way.
A wry and comic look at the shifting of power in sexual relationships, Francois Ozon’s film is adapted from a play written but never staged by the celebrated German filmmaker Rainer Werner Fassbinder. When the smooth-talking Leopold , a successful businessman of 50, seduces 20-year-old Franz, the youngster falls under his spell and moves in with him. But, Leopold soon reveals his true colours and Franz contemplates returning to his girlfriend – until Leopold seduces her too. The arrival of Leopold’s former lover Vera, a male to female transsexual, only complicates matters further.
Fifth short film directed by István Szabó. It was presented at the Cannes Film Festival, where it won a Special Award. There is practically no argument, because it is nothing more than an act of love for Cecília Esztergályos, who at that time was Szabó’s girlfriend.
A story from Victoria, British Columbia, of one young man who, despite a crippling malady, is determined to experience as many of life’s offerings as possible. Brian Wilson is spastic, confined to a wheelchair, but he works at a job, looks after himself, and moves about from place to place on his own. Every day has its challenges and victories, and sometimes defeats. With this example of personal courage, the film provides insight into the private and daily struggle of the disabled.
A famous actor leaves the theater without reason to live at his friend’s tugboat. The people from his surroundings find out more about his move and come to the riverbank, trying to live freely themselves. The question is who found what.
After Liptus arrives in a small village from the city, he calls his best friends, Miron and Melita, on winter holidays in Kopacevo. That same night, while they are all sleeping cozily, from their deep sleep Miron and Melita are woken by the disturbing sounds of villagers, carrying flares and disappearing into the darkness at the end of the street. At the docks, they find Halasz, a boy known for his bravery. He is cold, pale from shock, and babbling a white ghost. While most of the villagers don’t believe Halasz’s story, older citizens recall a long time ago when a forgotten spirit would scare people at night in dark and foggy swamps.