The Heiress
In 1840s New York, the uneventful and boring days of the daughter of a wealthy doctor come to an end when she meets a dashing poorer man — who may or may not be after her inheritance.
Engel und Puppe is the first film by Italian filmmaker and writer Ellis Donda. Screened at Oberhausen in 1975, Engel und Puppe is a political adaptation of some lines from Rilke's Duino Elegies, featuring the French poet Jacqueline Risset and a young Rossella Or (soon to become an avant-garde theatre actress).
In 1840s New York, the uneventful and boring days of the daughter of a wealthy doctor come to an end when she meets a dashing poorer man — who may or may not be after her inheritance.
Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.
The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?
An African-American man working at a slaughterhouse in the Watts area of Los Angeles leads a dissatisfied and listless existence.
Ion is a seemingly normal guy whose life goes by without a hitch. A phone call; a meeting with a friend; small, unimportant everyday situations. One day he gets into a car with two other people. They cross the border between Spain and France. The next morning, their lives will change forever.
Three converging story lines involving bootleggers, a serial killer and drug dealers are followed. A former drug dealer tries to go straight, but comes across a stash of stolen drugs. Meanwhile, a middle-aged suburban housewife hides a sadistic and vicious streak.
Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.
The life of 20-year-old Nico from upper class Zurich is all party, sex and drugs when she meets Paco, the front man of a rap band. She finds herself drawn to his independent, creative and profound way of life, so different from her own. With naiveté and infinite self-confidence, she tries to adopt his lifestyle - without anticipating the consequences.
When a desperate man’s car breaks down in a bizarre desert town while evading vengeful bookies, he becomes entangled in a dangerous love triangle. Caught between a married couple, he’s faced with deadly contracts to kill them both.
First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.
Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".
Russian emigré Dimitri Kirsanoff’s film, alternatively titled Death of A Stag and Une chasse à courre, is a post-war study of a traditional stag hunt. The pursuit of the animal finds a cross-cutting parallel in the felling of a tree in the forest.
As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.
Twenty-five films from twenty-five European countries by twenty-five European directors.
As she reaches her mid-thirties and quits her lucrative job, singleton Olivia finds herself unsure about her future and her relationships with her successful and wealthy friends. She begins to envy the security of her richer friends and, although their lives may seem easier, Olivia's friends have their problems too: screenwriters Christine and Patrick are unable to collaborate on their latest project, Jane and Aaron have lost the romance in their relationship, and Franny and Matt have difficulties handling the demands of parenthood.
As the city of Paris and the French people grow in consumer culture, a housewife living in a high-rise apartment with her husband and two children takes to prostitution to help pay the bills.
Inside the claustrophobic scenery of a fancy apartment in the city of Frankfurt three men and a woman lock themselves in for ten days. Oskar and Julia are a couple. They have sex and let themselves be filmed. Benjamin and Bastian are behind the camera, trying to get pictures of absolute intimacy. Closeness as it can only be found among lovers.
A struggling restaurant owner, caring for his sick mom, finds a bag of cash in a sauna locker, while a customs officer gets into trouble when his girlfriend runs off with money he borrowed from a loan shark.
Every night while the city sleeps, Ahmad, a former Pakistani rock star turned immigrant, drags his heavy cart along the streets of New York. And every morning, he sells coffee and donuts to a city he cannot call his own. One day, however, the pattern of this harsh existence is broken by a glimmer of hope for a better life.
Against the backdrop of an unfathomable megalopolis, in a story that follows the associative qualities of a dream logic, the protagonists quote from concepts of neo-liberal elitism, and a mix of religious delusions and hallucinations of the apocalypse. The film begins in a sacral space, where Randi, a figure that references Ayn Rand, transforms a parapsychological medium into two digital clouds and sends them on a journey through a megalopolis in full growth. There they materialize as two bodies, which go by the names of Mr. Freedom and Ms. Independence.