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Louise lives alone and seems to like it that way. She has been through a divorce and the recent death of her mother. Recently, she has moved to Annecy, a moderate-sized city, to take work as a schoolteacher. She encounters a much younger man, Luigi, an Italian who is down on his luck. Though he moved to France to find work, he was robbed of his money and papers and is stranded. When he helps her bury her dogs, which her neighbour has poisoned for barking, their relationship grows to a new level.
Tag: HD
Louis Trebor, a man nearing 70, lives alone with dogs in the forest near the French-Swiss border. He has heart problems, seeks a transplant, and then goes in search of a son sired years before in Tahiti. Told elliptically, with few words, we see Louis as possibly heartless, ignoring a son who lives nearby who is himself an attentive father to two young children, one named for Louis. He leaves his bed one night – and his lover – to kill an intruder; he dreams, usually of violence. Will his body accept his heart? Will his son accept his offer?
In a small village in Yugoslavia during the German occupation, a girl, Lenka, lives with her blind brother, while her father and boyfriend fight. One day they return with the Nazis on their tail.
In her second feature (and her first solo feature), the multidisciplinary artist Niki de Saint Phalle pursues her own take on the fairy tale, and the result is a visionary exploration of female desire that unfurls according to the logic of dreams and poetry. The film follows a princess (played by Saint Phalle’s daughter, Laura Duke Condominas) who, following a series of encounters with fantastical beings, is magically transformed into an adult, and finds herself navigating a frightening and surreal new world. A work suffused with ideas and strong ties to Saint Phalle’s work in other media (sculpture, painting, assemblage, etc.), Un rêve plus long que la nuit is both an exemplary artist’s film and an underseen gem of 1970s French avant-garde cinema.
Young lesbian parents Shareen and Claire are raising their 5-year-old daughter Honey in a converted garage on Staten Island. Shareen salvages refuse with her pickup truck while Claire waits tables at the hip Naga Saki restaurant in Manhattan, caught up in a global exchange of industrial waste via contaminated sushi. As a ghost barge bearing nuclear refuse circles the planet in search of a willing port, household pets begin to glow ominously, then disappear; and people start speaking in tongues. The crisis escalates when a multinational corporation is implicated, the couple’s daughter Honey mysteriously vanishes, and a group of young New Yorkers strike back in an unlikely alliance with activists in the developing world.
Sam, a recovering alcoholic, feels dissatisfied with his life of sobriety and goes back in search of the good times he enjoyed with his wino friends on “the Nickel” of Los Angeles’ skid row.
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the “forest.” There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York “underground scene” who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus’ Prometheus Bound, finds the personalities of his characters to have a timeless universality.
Siss and Unn are two 11-year-old girls. An alluring contact develops between the two girls, a relationship filled with dawning anticipation and a tacit longing for warmth and tenderness. One evening they meet, and for the first time in their lives they are thrown into a strong emotional confrontation. The next day, Unn is unable to meet Siss again. Instead, she ventures alone into the cold, lonely winter landscape.