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In 1958, a Japanese expedition to Antarctica led by meteorologist Kenjiro Ochi and doctor Akira Ushioda leave their exploration base, abandoning their loyal team of sled dogs. When the scientists who are supposed to replace them have their mission canceled, Akira and Kenjiro are worried their dogs will die. A year later, the scientists embark upon a dangerous expedition to rescue their faithful animal companions.
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In this French romantic drama, Stephane wants to form a romantic bond with Sabine , and to do this has left his pregnant girlfriend behind. Sabine would rather be with Bruno her former boyfriend, a stage actor. Bruno in turn is much more interested in his current girlfriend. Each person is, in his or her own way, attempting to deal with issues of maturity and responsibility and repeatedly fails to find happiness or even a decently tranquil compromise between their desires and the realities of their situations.
The third installment of Oliveira’s Tetralogy is a brilliant and devastating portrait of young lovers tragically separated by a bitter feud between their aristocratic families. In Doomed Love Oliveira tested his belief in a creative merging of theatrical, literary and cinematic narrative traditions. His radical approach to adaptation captures the multilayered language of Camilo Castelo Branco’s eponymous epic novel to offer a virtual phenomenology of life and love in 18th century Portugal. After a disastrous premiere on Portuguese television, the theatrical release of Oliveira’s re-edited version was quickly hailed as a landmark in the history of the European art film.
Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series’ significance.
Oliveira returned to the center of Portugal’s film scene in the 1960s with Acto da Primavera, a work that marks a significant change in the director’s trajectory and that initiates some of the cinematic strategies that he would develop more fully in later films. In Acto da Primavera, Oliveira offers a version of a popular representation of the Passion of Christ, enacted by members of a rural community in northern Portugal, derived from the Auto da Paixão de Jesus Cristo (1559), by Francisco Vaz de Guimarães.
Infidelity threatens to break up a marriage in this evocative feature from legendary Japanese director Mikio Naruse. Tsuma concerns the struggles of a woman who finds out that her husband is cheating on her; to avoid the stigma of a broken marriage, she decides she’ll do whatever it takes to keep him with her. Tsuma was adapted from a story by Fumiko Hayashi, who wrote about women’s cultural struggles in 1950s Japan and whose writings formed the basis for five other Naruse films.
King Henry VIII wants to divorce his wife, and seeks the approval of the aristocracy. Sir Thomas More is a man of principle and reason, and is thus placed in a difficult position: should he stand up for his principles, risking the wrath of a corrupt King fond of executing people for treason? Or should he bow to the seemingly unstoppable corruption of King Henry VIII, who has no qualms about bending the law to suit his own needs?