Strange events happen in a small village in the north of Germany during the years just before World War I, which seem to be ritual punishment. The abused and suppressed children of the villagers seem to be at the heart of this mystery.
A group of middle-class friends travel from Tehran to spend the weekend at the seaside. Sepideh invites Elly, who is her daughter's teacher, to travel with the three families in order to ... See full summary »
Mr. Neville, a cocksure young artist is contracted by Mrs. Herbert, the wife of a wealthy landowner, to produce a set of twelve drawings of her husband's estate, a contract which extends ... See full summary »
Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.
Francis Ford Coppola
Giovanni is a successful psychoanalyst who has to put up with the seemingly endless string of trivial details his patients ramble on about. Yet his family provides a loving and steadfast foundation for his life that can even survive a problem like their son, Andrea, being accused of stealing a rare fossil in school. That foundation is profoundly rocked when Andrea dies in a scuba diving accident. Although the usual arrangements run smoothly, the emotional harm is profound. Giovanni begins to obsessively dwell on the missed chances he had with his son that might have saved his life, even blaming his patients. In addition , his wife is inconsulable and his daughter is becoming anti social in their loss. In the midst of this turmoil, a secret of their son's life is revealed that provides healing in a way they never anticipated. Written by
Kenneth Chisholm <email@example.com>
The Latin lines that crop up are from Lucretius' De rerum natura. The full passage reads as follows: "Haec sic pernosces parva perductus opella; namque alid ex alio clarescet nec tibi caeca nox iter eripiet, quin ultima naturai pervideas: ita res accendent lumina rebus. (Lucretius, De Rerum Natura I, 1114-1117) An (old-fashioned) English translation: "These points, if thou wilt ponder, Then, with but paltry trouble led along... For one thing after other will grow clear, Nor shall the blind night rob thee of the road, To hinder thy gaze on Nature's Farthest-forth. Thus things for things shall kindle torches new." See more »
What can I say except that I need to see it again? I try to write down what I think but somehow I prefer scribbling some jargon on a note pad... there are also a lot of hidden details to previous films that you have to watch out for with your eyes wide shut. The images haunt you and leave you mourning. Ecstasy for having encountered cinema at it's most powerful. How to portray pain in film? the symptoms of anguish? the rituals involved... The most striking scene for me is at the fairground. It hits you like a freight train and leaves you mesmerized for the second half of the film. The son's room is at the bottom of the sea, on the surface of an instant photo, a secret path though many a different door... Press replay on what is not past nor future but pure emotion of imagining what will never be, love streams, the loneliness of long distant runner... Tragedy and crisis (individual and social and it's many other meanings!) have always been present in Nanni's cinema but here he's reached an unprecedented maturity. One minor flaw is the stereotypical portrayal of the patients treated by Moretti playing a psychoanalyst. It's a little too predictable for such an original filmmaker although I'm well aware that the patients are all movie projectors projecting the artist's own constant obsessions. I do hope English speaking viewers will have a chance to see it.
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