Guilherme and Sofia, brother and sister, grow up sharing experiences and slowly discovering their sexuality. The thing that Sofia doesn't know is how far Guilherme will go to keep her inside his own perverse, dark and perfect circle.
Joana de Verona
The teenage girl Vera left her family after an incident at home, and is now living with a middle-aged drug addict, Morgan, who is using her as a prostitute to get money for drugs and debts.... See full summary »
Kiyoshi is a brooding young man who treats women solely as objects. Makoto is a young woman who is just reaching her sexual awakening. She and her friends accept car rides from middle aged ... See full summary »
A care-giver at a small retirement home takes one of her patients for a drive to the country, but the two wind up stranded in a forest where they embark on an exhausting and enlightening two-day journey.
In Tangier, Badia and Imane, two young Moroccan girls of around twenty, walk in line amongst an army of workers who fill up the city with their coming and going back and forth. They both ... See full summary »
An Croatian erotic anthology of seven short stories directed by Irena Skoric, all revolving around sex and relationships. Five of the stories following the intimacies of straight couples, ... See full summary »
Tomek is 14 and a good student. He's interested in astronomy and plays football to please his father. The only thing is, he lives in a poor little border town plagued by unemployment, ... See full summary »
I took a punt on this having heard of neither the film, nor the director, nor indeed the novel it is based upon, or the writer herself. Short, powerful, and broken into three parts that shift between two periods of time, it is that rare thing, a realist piece plain and simple, with none of the modifiers that trouble that term from time to time. The social realism of a Ken Loach, for example, may not be so oxymoronic as the socialist realism beginning to glut the cinemas in the Stalinist lands of the period on display here, but it is forced nonetheless, as would be immediately evident if the few short mentions of collective farming in Smuteční slavnost were compared to similar scenes in Land and Freedom or The Wind that Shakes the Barley. Here, the sparse dialogue appears at no point to serve any other purpose than carrying what the viewer feels to be these people's real intentions; and people, not characters or actors, they remain throughout. And who are these people? An admirably mulish widow, a craven priest, a handful of party functionaries, a crowd of farmers, a crowd of mourners, a handful of musicians, and one man who we see at first moribund, dead, and then vigorous with, though it may take a different expression, the same judicious defiance as his wife. They knew what they were doing when they banned it and since I walked out of the cinema less willing than ever to be pushed around or told what to think, I would say it has lost none of its force.
0 of 0 people found this review helpful.
Was this review helpful to you?