Berlin, the Romantic Era. Young poet Heinrich wishes to conquer the inevitability of death through love, yet is unable to convince his skeptical cousin Marie to join him in a suicide pact. ...
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Rita is an outcast teenager in suburban Austria, misunderstood both at school, where she's disdained by classmates, and at home, where her staunchly religious mother and temperamental ... See full summary »
Set in seemingly contemporary times, a man who belongs to a persecuted minority attempts to escape from fascist-run France to America but falls in love with the wife of a dead author whose identity he has assumed.
The intertwined lives of two women in 1970s France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne ... See full summary »
Lena, who has long been married to Tore, suddenly experiences a retrograde amnesia, as doctors describe her condition. The cause is an undiagnosed encephalitis. As a result,she lost her ... See full summary »
The heroine of the title grows up. Slights, dance school, a cinema of glances, of tender moments, of trivial pop songs. A cinema which takes time, makes observations and which continuously ... See full summary »
John F. Kutil
Berlin, the Romantic Era. Young poet Heinrich wishes to conquer the inevitability of death through love, yet is unable to convince his skeptical cousin Marie to join him in a suicide pact. It is whilst coming to terms with this refusal, ineffably distressed by his cousin's insensitivity to the depth of his feelings, that Heinrich meets Henriette, the wife of a business acquaintance. Heinrich's subsequent offer to the beguiling young woman at first holds scant appeal, that is until Henriette discovers she is suffering from a terminal illnessWritten by
Cannes Film Festival
that is the greatest mockery, pure parody I have come across for a long time (watch it together with the Lobster-love as another convention-, even funnier than that).
that romantic poet was such a blockhead, probably as much as everyone and every institution around him. that is laughter, looking backwards from nowadays.
on a more serious base, that is proper history of manners a la Norbert Elias. the issue here is historical sociology and psychology and class dynamics; not the biographical-individual pain of creation or romantic aesthetics.
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