Erwin (Erwin van Cotthem), a family man who spends most of his time playing computer games, makes a drastic shift in his life when he suddenly decides to leave his wife, yet finds himself in the same rut as before.
They come at night and everybody steps out. They light torches and remember those who have walked these streets before them. In the coming hours, the city will be on lockdown: an eclipse appears and meteors start to fall.
Ding Hui is a member of Purple Butterfly, a powerful resistance group in Japanese occupied Shanghai. An unexpected encounter reunites her with Itami, an ex-lover... and officer with a ... See full summary »
In Quebec, Mexico and Asia, three sensitive souls heed the call of the images and melodies that haunt their days and nights. Moved at once by loss, yearning and longing, Eliane (Eliane ... See full summary »
Blaise and Nessa are outcast methadone users in their small town. Each day they push a rusty lawnmower door-to-door begging to cut grass. Nessa plots an escape, while Blaise lingers closer ... See full summary »
Kyle M. Hamilton,
An unexpected response to Pinochet's 1973 coup d'etat in Chile. A Super-8 film apparently found in an embassy -as it's written in the original title-, where political activists had taken ... See full summary »
"A Cambodian Spring" is an intimate and unique portrait of three people caught up in the chaotic and often violent development that is shaping modern-day Cambodia. Shot over six years, the ... See full summary »
Yves Montand's rehearsals for a special show at Olympia to support Chile's political refugees. Interviews of this singer and actor, fragments of his films and footage from his concerts created a multifaceted portrait of an artist.
The only feature film to be directed by Margaret Tait, made when she was in her seventies, is this memory piece that looks at the lives of three generations of Scottish women. It's a demanding, non-narrative picture as much concerned with buildings, props and landscapes as it is with people. Indeed, with the exception of the superb Gerda Stevenson, the rest of the cast act in a blank, one-dimensional fashion. Tait obviusly had no real experience of working with actors and her dialogue is largely banal. It is the look of the film that matters and even that is largely banal, too. Tait photographs everyday objects with an almost fetishistic glee. It might have been a better film had she dispensed with dialogue altogether. Apart from the odd art-house screening at the time of its (very limited) release it hasn't been much seen and has now built up something of an (undeserved) cult reputation.
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