Set in 1973 Spain, a struggling encyclopedia salesman and his wife take advantage of an offer to make adult films. The act turns him into an aspring legit filmmaker and her into an international sex symbol.
A man and a woman meet in 1960. They marry because that's what you are supposed to do. But something goes wrong on their wedding night. They have no idea what to do with each other. ... See full summary »
Svend and Bjarne work for a butcher in a small Danish town. Fed up with their boss' arrogance, they decide to start their own butcher shop. After dismal beginnings, an unfortunate accident ... See full summary »
Anders Thomas Jensen
Nikolaj Lie Kaas,
Paris 1913. Coco Chanel is infatuated with the rich and handsome Boy Capel, but she is also compelled by her work. Igor Stravinsky's The Rite of Spring is about to be performed. The ... See full summary »
Leo and Louise are a young couple living together in Copenhagen. Leo often goes out with his friends while Louise usually stays home. But when Louise tells Leo she's pregnant, a spark is ... See full summary »
Nicolas Winding Refn
Rikke Louise Andersson
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Cafe Hector is the new in-place for the chic, high-flying, articulate jet-set, where steaming cups of cappuccino accompany their trendy chit-chat. Uffe is definitely not "in". He can't get ... See full summary »
Anders W. Berthelsen,
Alfredo Lopez is a tired encyclopedia salesman, and Carmen is his faithful wife. The lives of this married couple change forever when the Montoya publishing house, in which Alfredo works, makes a proposal to them to make erotic films that will sold in the Scandinavian countries, under the guise of being a false encyclopedia about reproduction. Unknown to them both, Carmen has become an adult film star in the Northern countries, and a Danish crew flies in to help Alfredo make an Ingmar Bergman inspired feature film called "Torremolinos 73." Instead of a career in show business, Carmen is eager to have a baby, and the tension between the artist and his muse grows. Written by
Sujit R. Varma
Alfredo uses a silent Super 8 camera and silent film stock to shoot the movies in his flat, but when we see him watching the results on a projector some days later, the movie has sync sound that was seemingly recorded at the time of the shoot. See more »
When I first watched this film in 2005, I loved it, although at the time I was perhaps ready to agree that the second half of the film stumbles in a lot. But having recently seen 'Camera Buff' by Krzysztof Kieslowski, I am absolutely convinced 'Torremolinos 73' was inspired by it, in one way or another. This is not to deny originality to Berger's creation, but the acquaintance with the Polish film can seriously help understand and evaluate 'Torremolinos'. It can let us appreciate some details (compare, for instance, a cameo appearance of another Polish filmmaker, Zanussi, in 'Camera Buff' to the ever-powerful presence of Bergman's loudspeaker in 'Torremolinos'), but, most importantly, it allows to see, what exactly the subject of the film is. If our understanding is not informed by 'Camera Buff', then 'Torremolinos' is a vinaigrette of politics, porn and art-house cinema. If it is, then the main topic is exactly the one that makes the film somewhat 'heavy' in its second part and which was one of the central topics in Kieslowski's film. Cinema becomes a wedge, which is hammered between the routine and creativity. Aspiration to make 'serious' films and the cherishing of a film as one's child violently confronted the parental responsibilities of Kieslowski's protagonist, who gave in to creative impulses. The conflict in 'Torremolinos' is slightly reversed in that cinema becomes a more complex agent: it is the reason for misunderstanding, but it also unveils the problem and in the end even helps to resolve it. It is nevertheless the importance of the choice and its connection to various problems concerning family life that bring a kind of dullness into the second part of 'Torremolinos'. In this case it might be useful to agree with those who call this part 'subtler' in comparison to the upbeat start. In particular, this second part contains an easily-unnoticed topic of how much insult the male pride can take, and whether or not it is worth being guarded when love is at stake.
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