Based on the legend of Blue Beard written by French author Charles Perrault (1628-1703), in this film adaptation however, neither the original blood nor the original murder make an appearance. These elements are replaced by a poetic research on the awareness of the death of the murderer Bluebeard and the dead women are replaced by mannequins, sometimes dragged, pushed or transported; other times, they seem to take on a life of their own.
An ageing writer Paul is determined to make a film but he cannot decide on the subject or location. Instead, he chooses to concentrate his efforts on finding the actress who will star in the film, believing that she will define the lead character and content of the film. He recruits a young man, Jean, to try to find an Italian actress, Dara, whom he has lost sight of. Jean finds Dara in a small Italian town, serving in a modest restaurant, but she refuses to return to acting…
In the 18th century, English aristocrats had, among their better known strange customs, one really strange one: they kept “ornamental hermits” for their gardens. These were actual people who were willing to live in squalid conditions and serve as something like museum exhibits for the amusement of the wealthy. This movie takes that notion and transfers it to 18th century France. In the story, an English hermit has somehow been brought to France in the period following the French Revolution, and prior to the Napoleonic Era, a period (1795-1799) known as “The Directory.”
A new Premier is elected promising to clean up corruption. He sets up a taskforce headed by a traffic cop thinking he won’t get far. But Inspector Riordan opens up a can of worms and won’t let it go – all the way to the top.
A film noirish atmosphere is created to show detective Angel Powers plow her way through the plans of a corporate businessman who seeks government defense contracts through real “corporate wars” and the manipulation of politicians.
This densely-packed film is based on a book by Tom Hart about the struggles of a young Yorkshire boy trying to come to grips with squabbling parents, a doctor who wants to institutionalize him because of his epilepsy, and a mother who refuses to accept that he is different in any way.
In Layaly Badr’s documentary short, Road to Palestine, seven-year-old Layla – who has been badly injured in an air raid – lives in a refugee camp outside Palestine. Layla and her friends describe how they imagine Palestine, despite never having seen it.
In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.