Elske faithfully loves her husband Endrik as he is seduced by a foreign schemer, Madlyn. Madlyn persuades him to murder Elske and run off with her. He lures Elske into the boat as a prelude to drowning her, but is unable to carry it out. When they reach the shore, she flees to the city, and he follows to plead for forgiveness. They return, and a storm blows up while they are in the boat. Endrik gets ashore, but believes Elske to have drowned.
Month: August 2020
While fishing on a San Diego beach, Gerald Clamson catches… a sea diver! Even more weird, the “fish” resembles him. The man, who is not (yet) dead, reveals his secret to the peaceful angler: he is in fact a mobster who has cheated his associates out of their diamonds. What does not help Gerald at all is that the other hoods are persuaded HE is the double-crosser they are supposed to have done away with. Will he get himself out of such a tight situation? He will of course, but not without a little help from Suzie, the girl he only has eyes for!
From the Medieval period through the Renaissance, Antoinetta Angelidi’s experimental work of allegories and aesthetic compositions contemplates the treatment and representation of women in Western art, moving through several historical stages and intertwining them with abstract sequences of perceptions, memoirs and varied perspectives, all of this executed with a very theatrical presentation.
A disgruntled phone company employee develops a device whereby those answering a phone can be murdered, and it’s up to Nat Bridger to stop the killer.
With the ambition to start a boutique overseas but without the means to do so, Nathalie finds herself in a desperate situation, where she would do anything to acquire what she needs. Along with her boyfriend, Eric, and his friend Bruno, she concocts a plan where she seduces clueless men and accompanies them to their places, then allows Eric and Bruno to break in. But the three soon encounter trouble after one of their schemes ends in murder.
In a film based on Neil Simon’s hit play, Walter Matthau portrays three unconnected roles. Sam Nash reluctantly joins his wife, Karen (Maureen Stapleton), in the suite where they spent their honeymoon, hoping to revive their flagging marriage. Then Jesse Kiplinger, an aging movie producer, is determined to seduce his old flame, Muriel (Barbara Harris). Finally, Matthau is beleaguered father Roy Hubley who, with his wife, Norma (Lee Grant), struggles to get their daughter to her own wedding.
Bernhard’s last play Heldenplatz, viewed as an attack on Austria, caused a media sensation in Vienna in 1989 and brought widespread reactions of outrage that ranged from the man in the street to the highest government officials. Such criticism totally misconstrued the nature and purpose of the play, which in form, style, and content fits directly into the normal sequence of his plays. Using his standard technique of exaggeration and employing his outstanding linguistic talent, Bernhard contributes to the theme of Vergangenheitsbewältigung on the occasion of the fiftieth anniversary of the Anschluβ. A sickly character, Robert Schuster, representing a fatally ill Bern-hard, makes a last effort to confront the deficiencies of the land Bernhard loved, not hated, as is commonly assumed.
A bookseller from “rive gauche” (de la Seine, Paris) wants to meet the friends of his son who committed suicide. This search is the prelude to an immersion in the imaginary and the ghosts of the father, whose identity is multiple. Argentine writers Jorge-Luis Borges and Adolfo Bioy-Casares participated in the writing of this film.