In pre-famine Ireland when poverty and magic were rife, introverted farm girl Maura discovers a magical world of the imagination through the mysterious wanderer Scarf Michael. When her isolated rural community accuses her of witchcraft, she turns to her own supernatural powers for protection.
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Two small-town sisters who’ve come to New York City for very different reasons find themselves competing for the affections of a brash magazine photographer.
Produced by the Municipality of Copenhagen and the Port of Copenhagen Authority the film draws with self-irony a frank and informal picture of the Danish capital, laying stress on the poetry to be found in the picturesque details of ordinary everyday life in the streets, the harbour, the social institutions, the amusement parks etc.
Miner’s daughter Olwen Williams leaves her small Welsh village and her sweetheart, Tom, to take up a singing scholarship, and eventually marries a collar-and-tie man. Tom has ambitions of his own and becomes manager of the colliery.
Michael is the younger son of a middle-class family, a strong-willed and free-thinking fellow, who is off in some distant country fighting for a revolutionary cause. Everyone in the family writes to him, describing the events of their lives, as they drift into a kind of conventionality which would perhaps have horrified them earlier. Only Michael’s girlfriend Mara, the mother of his child, retains her independence, even though it is through the help of Michael’s increasingly conventional friends and family that she survives.
‘The Cardinal and the Corpse’ (or ‘A Funny Night Out’) marks the beginning of Petit’s loose partnership with writer Iain Sinclair. There’s a nod towards narrative here involving a book-search launched by graphic novelist Alan Moore and a dealer (the dapper but barking Driffield), but it’s little more than an excuse to showcase a number of authors and other miscreants.
This movie takes place in post-war Japan, where Peg Blain and daughter Debby join Peg’s commanding-officer husband Jack. After the local Japanese wives see how independent and self-reliant Peg and Debby are, they demand to have the same respect, rights and privileges as them. At a military Christmas party, the situation gets brought up and resolved.