Frankie is 15 and preparing for fatherhood. He is determined to be the best dad ever, but as his day goes on, he starts to realize how impossible this will be for him.
Author: Jon W.
Oscar Nominee Sigourney Weaver and Emmy-winner Edward Herrmann portray an affluent suburban couple whose empty and gin-fueled lives are observed through the eyes of their neglected, eight-year-old daugther. Adapted by playwright Wendy Wasserstein from John Cheever’s short story, the tension and sadness behind the veneer of upper class life in Shady Hill are at the heart of this insightful drama.
In 1939, Charlotte Salomon leaves Berlin to seek refuge at her grandparents’ villa in the south of France. A little later, war breaks out, and Charlotte must, besides forgetting all she left behind, deal with her grandmother’s depression, and her mother’s suicide. To fight despair, Charlotte starts to paint, producing over one thousand images. “Is my life real, or is it theater?” This is the title she gives her body of work, which highlights her former life in Berlin. She finds herself though her art, but in 1943 is deported to Germany and Auschwitz.
Døden på Oslo S follows two teenage friends, Pelle and Proffen, in late-1980s Oslo as they navigate the city’s gritty underbelly. When Pelle falls for the troubled young Lena, who struggles with drug addiction, they both try to help her escape her destructive life. Their search exposes them to violence, addiction, and the harsh realities of life around Oslo Central Station.
For 30 years, Jane Elliot has committed herself to fighting against racism, prejudice and ignorance through an exercise separating blue-eyed persons from brown-eyed persons. This film witnesses one such experiment with a group of business people who find themselves experiencing discrimination and condemnation due to their eye color. Director Bertram Verhaag captures the emotional power of the experiment and forces the spectators to challenge themselves like the participants.
Featuring pop stars Karel Gott and Marta Kubišová (who later became the director’s second wife) in lead roles, with cameos by the two girls from Chytilová’s Daisies and director Lindsay Anderson as traffic policeman, Martyrs of Love is the most perfect embodiment of Němec’s vision of a film world independent of reality. The nearly dialogue-free music comedy about three timid lovers, which combines aesthetics of 1920s silent slapstick cinema with romantic music of the 1960s, cemented the director’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.
A macho Cossack immigrant to the U.S. goes West and joins a ring of rustlers. Later his son follows him to states and he too begins stealing cows. Not knowing his father very well, the youth is anxious to prove himself a manly man and a friendly rivalry develops until the father is captured and imprisoned. Meanwhile, his son joins the cavalry and secretly engineers a break out. He succeeds and then feels terrible guilt, for it is his unit that has been assigned to bring his father to justice.
A young girl, Jadzia, is sentenced to death for the murder of her child. Shocked by her fate, lawyer Krystyna decides to defend her in the court of second instance. She learns the story of a girl who was seduced by a strange man during a trip. Jadzia is acquitted and tries to start her life anew, but fate is preparing another fatal surprise for her.