A father and son ride the rails in their powerful locomotive. Witnessing a crash between two other engines, they rescue the lone survivor, Berenice, and make her a part of their family. All... See full summary »
Nikolai, a mortician, and Osip, an actor playing Christ in a play, are brothers in love with the same woman. Anna, a state scientist and said woman, is in love with both brothers and ... See full summary »
In a house haunted with memories, gangster and father Ulysses Pick (Jason Patric) arrives home after a long absence towing the body of a teenaged girl and a bound and gagged young man. His gang waits inside his house, having shot their way past police. There is friction in the ranks. Ulysses, however, is focused on one thing: journeying through the house, room by room, and reaching his wife Hyacinth (Isabella Rossellini) in her bedroom upstairs. His odyssey eventually becomes an emotional tour, as the strange nooks and crannies of the house reveal more about the mysterious Pick family. Written by
Ulysses quotes the first line of this verse from one of Emily Brontë's Gondal poems:
"By dismal rites they win their bliss By penance, fasts, and fears - I have one rite - a gentle kiss One penance - tender tears." See more »
Ulysses is getting closer. I can hear him down there. He's bent on forgiveness, which is much more frightening than revenge.
There will be no forgiveness, Father. That is why I keep you chained at my bed.
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Gangster Ulysses Pick (Jason Patric) has his men shoot their way into a home surrounded by police. Big Ed is second-in-command and he tells the dead to walk out. There is a bound and gagged man. The house is haunted. Ulysses has a girl Denny with him who is soaking wet, supposedly drowned and blind. They go in search for his wife Hyacinth (Isabella Rossellini). His gang wonders about Ulysses' plans and fight amongst themselves.
It's yet another Guy Maddin experimental film. This is almost watchable as the mystery of what this is truly about holds the audience's attendance. This is a black and white dreamscape or a nightmare. I wonder if Maddin can ever use his outlandish imagery in a more conventional movie. The production is relatively simple. There are a couple of interesting actors here. Like a lot of his movies, Maddin loses me about halfway through.
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