The true story of gay lovers, Richard Loeb and Nathan Leopold Jr. who kidnapped and murdered a child in the early 1920s for kicks. The plot covers the months before the crime, the ...
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Set in modern day Buenos Aires, the film centers around a relationship between two emotionally crippled roommates. Adrian LeDuc is a lonely sociopath who is forced to rent his insane ... See full summary »
In a village in the Southwest of France, 1962. Maite and Francois are 18 years old. They are friends, not lovers. In Francois's classroom, there are Serge, whose brother has just married to... See full summary »
Lena, aged twenty, wants to know all she can about life and reality. She collects information on everyone and everything, storing her findings in an enormous archive. She experiments with ... See full summary »
The true story of gay lovers, Richard Loeb and Nathan Leopold Jr. who kidnapped and murdered a child in the early 1920s for kicks. The plot covers the months before the crime, the investigation, trial and final fate of the two men.Written by
Col Needham <email@example.com>
The film was shot in two different blocks of time: first in October-November or 1990, then in August 1991. Craig Chester had to grow his hair back out after shaving it for the prison scenes, and then had his head shaved again when more prison scenes had to be filmed. The very first scenes shot was the kidnapping and the call from the phone booth. See more »
The two lead characters use a telephone with Touch Tone dialing-systems and other modern devices (TV remote controls, ballpoint pens, etc), even though the film is set in the early 1920's. The placement of such anachronistic objects was deliberate on the part of the filmmakers. See more »
"Swoon" is an enigmatic, sometimes almost inaccessible film that I continue to find oddly emotionally satisfying, even after having seen it at least a dozen times. An intentionally chaotic jumble of images and brilliance, speckled with anachronisms, sly winks at the camera, stock footage and allegorical sound affects, the film functions more like an avante-garde stage play than a typical movie- and yet it remains very cinematic, very engaging despite being occasionally cryptic, and very emotionally powerful- even surprisingly romantic in places- even though there is clearly a satiric and dry bent to the director's vision. Like a good Hal Hartley film, there is an intelligent handling of deep, dark emotions here, and for it's direct but never sensational treatment of massochism and obsession, I am incredibley thankful and eternally enlightened- I sort of wish would-be auteurs of the psychosexual (i.e. David Lynch) would take a cue from this strange but excellent little movie.
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