Maren, a young girl, is the sole survivor of the Black Death in her Norwegian village. Using instincts, folklore, luck, and the clairvoyant powers granted her by being born with a “Victory Cap,” Maren survives on her own, waiting for other people to discover her plight. Painstaking recreations of medieval customs and settings dominate the film.
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A day in the life of Monika, an ordinary, modern (ca.1975) Swedish woman. Her surroundings are a lot sleeker than her daily existence, though; she’s unemployed, her husband is gone, and she’s alone in the midst of what ought to be the good life.
With a playful associative montage, Parajanov offers an overview of portrait paintings by Hakob Hovnatanyan, the “Raphael of Tiflis.” Combining sights and sounds from both Hovnatanyan’s paintings and 19th century Tbilisi, Parajanov’s short documentary can be seen as a direct precursor to The Color of Pomegranates (1969).
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.
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 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.
This surreal, allegorical short film by Agustí Villaronga follows a young woman by the sea who encounters a mysterious red creature that reveals hidden secrets of the ocean. The encounter transforms her, granting uncanny, almost sorcerous powers. Drawing on Christian symbolism and pagan ritual, the film unfolds as a dreamlike meditation on feminine transformation and elemental forces, heightened by Carl Orff’s music.