A burlesque drama about old, boozed-up Ella, 73, who refuses to take a bath. Ella’s hobby is to drive her home helpers crazy. Neither the municipality nor the home helpers know the real reason Ella won’t take a bath.
Archives: Filmes
“Oblivion” takes us to the forgotten city of Lima, to a forgotten nation, the Peruvians and – like most countries in Latin America – the forgotten land of Peru.
Desert 79° looks over the edge of the known world. Three stammering reports by polar travelers, filmed in various tints of white. Part two of a trilogy about the cultural significance of the European landscape.
Edda Chiemnyjewski, a freelance press photographer and single mother living in 1970s West Berlin, is confronted with the fact that “a cook has no time for affairs of state”. She also fails to find a market for the project she has been working on with her women’s photography group that seeks to document the city. While from today’s perspective the city, which becomes one of the film’s protagonists, looks like post-war Berlin, little has actually changed as regards the precarious existence of free-lancers. With a heavy dose of self-irony Helke Sander, who also plays the leading role, tells of a divided life in a divided city.
In this documentary-musical, indie singer Rae Spoon takes us on a playful, meditative and at times melancholic journey. Set against majestic images of the infinite expanses of the Canadian Prairies, Spoon sweetly croons us through their queer and musical coming of age. Interviews, performances and music sequences reveal Spoon’s inspiring process of building a life of their own, as a transsexual person and as a musician.
In Mi nina mi vida a man and his giant stuffed bear move through the bustling crowds and noisy rides at an amusement park; it is as if he is not there and yet that seems to be the only place where he can divest his grief.
In Mythopolis legendary characters from the Greek mythology live their lives and solve their problems in today´s world.
From the East retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow. It is a voyage Chantal Akerman wanted to make shortly after the collapse of the Soviet bloc “before it was too late,” reconstructing her impressions in the manner of a documentary on the border of fiction. By filming “everything that touched me,” Akerman sifts through and fixes upon sounds and images as she follows the thread of this subjective crossing. Without dialogue or commentary, “From the East” is a cinematographic elegy.
Cuban exiles living in New York City look forward to Sunday night, when they can let themselves go -rhumba style -on the worn-out dance floor of New Jersey’s La Esquina Habanera. It’s a joyous cinematic celebration of Latin life, music and dance.
One shoots, the other speaks: Claire Simon and Mimi Chiola. However, Mimi is not a star. Strolling through Nice, Italian songs all about her, we are quickly convinced that every life is a story, and that every story can be made into life. Mimi is distraught because she feels she is everyone and no one at the same time. A demure, loving narrator, she is an authentic fictional character, whose unpredictable tale expresses an inexhaustible longing for freedom that knows no bounds.
The director describes the film as being made of Voiceovers, stunts, remixes, [and] covers aesthetic resulting in something Diffuse, decentralized, peripheral, [and] drunk. Its theme as extemporaneous ‚Äòcoreochanchada.’ ‚ ‚ÄòChanchada’ being the name of a genre of Brazilian comedies, often musical, a name given by journalists and film critics of the 1930s, inspired in the Paraguayan Spanish slang and meaning “filth”, “mess”, “trash”, “trick”. Finally, a disclaim: Contains: artistic nude, discrete zoophilia and dance.
What is the future of cinema? In 1982, in Cannes, Wim Wenders invited moviemakers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.
A teacher sees some of his students passing money to each other and starts to suspect that something bad is happening.
Playing the Piano, a little girl enters an imaginary world where the notes from the music score turn to little creatures that play with her.
A nocturnal urban journey through images and sounds in which space, color and light pass through the eye of the camera to suggest thoughts visualized before their conception. Shot in San Francisco, New York and Rotterdam.
Elfi works in a print factory, is about fifty and shares a small apartment with her mother in the province in Lower Austria.
The camera tracks through an endless system of institutional corridors. Progress is illusory – the present is continuous. Other personalities move in the corridors engaged on unspecified errands. We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.
Hannibal, fanatic of Serie B cinema, got in touch with “Lucha Libre” thanks to the movies of Santo and Blue Demon. Dinosaures, cowboys and masked wrestlers will be in charge of presenting the peculiar world of Lucha Libre and the relation that it establishes with the Serie B cinema.