A film, like a long poem in which a married couple engage in conversation about love, death, and life while the scenery changes around them. The destiny of each human being plays out between the parallel and antagonistic lines of man and woman, day and night, north and south, black and white. And not knowing what real death will be, we imagine life and death in various ways.
Category: Arthouse
An unemployed man with individualist and pacifist values is inevitably brainwashed by society and the mass media to conform to the dominant ideology and embrace war. His soul is destroyed but his heart cannot be conquered.
A young man recalls his affair with a young French woman who traveled with him across the United States. They began to drift apart during the trip, and eventually each had affairs with other people before realizing that their relationship had run its course.
The film is about the stories of three young people, Marisa, Anna and Enzo, whose situations develop alongside but without any link. Marisa, a modest shop assistant in a haberdasher’s, aims to become a singer: she will soon reach for success, thanks to a contest for new voices. Anna runs away from home to escape the lovely tyranny of her mother, but the life of a modern and free woman is very different from what she had in mind. Enzo, a boy with a head full of dreams frustrated by the misery of the reality that surrounds him, will try to escape the dullness of his existence by setting up a criminal operation.
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.Â