The Corridor is a moody, meditative essay set at a time just after the independence of Lithuania from the USSR and in a claustrophobic apartment somewhere in Vilnius in which the titular corridor forms the zone through which the residents of the building must pass in order to meet each other.
A young boy is locked into his apartment when his mother goes out and must care for his baby brother and cope with various domestic catastrophes while his grandmother and a neighbor try to locate his mother or the key to the apartment.
Between 1986 and 1990, Arthur Aristakisian lived among the tramps and beggars of the city: drug addicts, emotionally disturbed, physically handicapped, and blind people. LADONI is the result of these four years. The film follows the beggars in their tough daily lives. Aristakisian has a biblical view of these outcasts, which is particularly expressed by the poetic voice over, intoning philosophic-spiritual reflections of a father who is talking to his unborn (aborted) child. According to Aristakisian, this refers to the direct cause for his film: the confusion that came over him when his girlfriend had an abortion.
Penniless and without a future, an English teacher agrees to tutor a pampered woman, only to become enmeshed in a strange reality and a downward spiral of desire and illusion, guilt and self-contempt. Will the ugly truth set him free?
Bella, a sensitive and clever girl, experiences her first disillusionment at the school graduation ball. The following morning, she meets Apostol, a middle-aged man, architect, and former participant in the anti-fascist struggle. He reveals to her his views on life. He introduces her to Bufo, a younger person, and a failure as an actor although possessing “the talent of a friend”. Thus the trio is formed. Bella marries Bufo, though Apostol remains the man and person whom she would have desired to meet in her lifetime.
A runaway cat-loving girl begins a love triangle with a reckless older man and a young biker in high school. The film follows their subsequent chaotic relationships.
On a dirty grey street in Berlin, a crowd gathers round an eccentric old woman who is performing a strip-tease. Dragged off to a psychiatric hospital, she demands cocaine instead of thorazine, tries to seduce everyone in sight, and insists that she is the legendary dancer Anita Berber, darling of the decadent ’20s. Suddenly, in true Wizard of Oz style, the film departs from monochrome reality into the colour-drenched world of the woman’s fantasies, a wildly exaggerated evocation of Weimar Berlin filmed in full-blown expressionist style.
St. Petersburg, early 20th century. The handsome and secretive Johann specializes in shooting erotic pictures depicting the floggings of bare-bottomed women. With the help of his assistants, the photographic creations gradually penetrate the peaceful households of two upper-class Russian families.