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Albrecht, Octavia & Äls form a triangle from families of idle intellectuals, prone to Neitsche. Nature loving Äls is gravely ill. Further tragedy looms as Albrecht contracts typhoid bringing Äls’ foster child out of an infected area.
Tag: HD
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Jacques is an artist whose world changes when he meets Marthe, a woman intent on taking her own life. After he stops her from doing a swan dive into the Seine River, the two start regularly meeting, and Jacques learns that Marthe almost killed herself over a broken heart. As Jacques and Marthe wander through Paris over a series of nights, he begins to fall in love with her — only to find that her former lover is not entirely out of the picture.
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.
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.
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A young English tourist called Annabel meets a Greek shepherd during her vacation on a Greek Island. On their first encounter in a field, the shepherd approaches Annabel wanting to give her some almonds but scared of his rustic and rough appearance she misunderstands his intentions and runs away. Soon, he is found in prison accused of the supposed rape of Annabel. She regrets overreacting and tries to persuade the authorities to release him.
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.