Prison enters in the life of a man and changes him. Everything becomes a gamble. A visual experiment inspired by A History of Communism for the Mentally Ill by Matei Visniec and the short stories of Slawomir Mrozek. Place your bets!
Archives: Filmes
A female professional sex worker is visited by her homosexual adolescent brother and his two dogs. He confronts her about her line of work after having played trivial pursuit with mother on the sun deck. He wouldn’t pay a dime for her disgusting breasts.
A mysterious old lady dwells in an abandoned apartment block. She lives alone but will simply not leave the place.
A transvestite professional sex worker from a middle class Texan family waits for customers while listening to Henry Gorecki and drinking mini diet Coca-Cola. His maid the ‚Äòchocolate covered strawberry’ comforts him by rubbing his ‚Äòsoft batch’ and they begin making love.
A bunch of three gambler thieves, one of whom is blind, have managed to crack a safe. The safe has diamonds worth a million, but then greed takes over as they decide to play the barrel roulette. The guy who survives would keep the diamonds. The film moves in reverse towards the beginning as the opening of the film evolves as the climax.
She is beautiful, she is strong. She is 36 years old and comes from West Africa. She lives in the suburb of Copenhagen. She works as a prostitute. Each month she sends money home to the family. She misses them. She believes in God. She eats and smokes more than she used to. And outside it’s raining.
Vassilis Galis is afraid of growing up. Snezana Tkatchenko is afraid of understanding. Sakis the Movie Star is afraid of feeling. Emily the Irish girl is afraid of starting over. Lauren the Wife is afraid of admitting. Agne the Teacher is afraid of living…and Father is afraid of speaking. Mother is afraid of coming back.
In China, culture and the arts are very closely linked to people and their lives. The street life in Beijing is a 24-hour live show full of music, dance and sports. Over a period of month residence time (September 2007), I was observing Chinese life, collecting road images, documenting quotidian performances. I saw a city that’s literally exploding, in early transition from the ancient to the modern, (‚Ķ) preparing for hosting the 2008 Olympics.
This pitch-dark, formally pure policier is To’s most abstract film: a personal essay in the anxieties of masculinity, the dynamics of the homosocial group, the fear of facing chaos without recourse to violence. When Police Sergeant Lo Sa loses his gun in a dark alley, he enlists the aid of Inspector Ho, a brutal Police Tactical Unit squad leader whose remorseless recourse to brutality in the service of order is almost stomach-turning in its frankness. One anxious night brings together these protagonists in a seething Tsimshatsui (Kowloon’s southern tip) where rival gangs of Hong Kongers and even more fearsome mainlanders finally meet. (S. Kraicer)
Kenji, abandoned by his mother, scrapes out a meager existence doing odd jobs including driving bar hostesses and their customers home. Besides this he takes care of the sister of an old friend in jail and a young illegal immigrant. But his life reaches a turning point when he happens to meet Chiyoko, his long lost mother. She is now married to Mamiya. They also have a teenage son, Yusuke. Subdued feelings of alarm, discomfort and resentment between Chiyoko, Kenji, and his half brother Yusuke hide underneath and are seemingly caused by the inseparable blood ties that seem to wield control over everyone’s destiny. Is blood that powerful? What exactly defines a mother or a father?
Boy meets girl. The daily life of Dino and Helena is difficult and the grief is growing in a way that encloses them while they search for an urgent solution.
When I was sixteen, I was part of a religious brotherhood. I remember, one day in March, I spent all day on a sidewalk: In exchange for a postcard, I had to harvest some money for the flowers of the Virgin‚Ķ I remember a three years old boy asking his father ‚ÄòWhat is doing this gentleman ?’ He was talking about me !…
An investigative and exploratory hands‚on gloves-off study into the practice of putting things ‚Äòoff’. Sometimes the only way to get something done is to do two dozen other things first.
Experimental short film about change. Originally shot on 8mm film, containing no dialogue and based on a circular structure, the film attempts to describe a state of mind of a person in between events, experiencing change. The plot is rather a reference to the basic epic plot structure than a narrative. The music plays an important role approaching the content of the film hand in hand with the cinematography.
August, a Mediterranean beach. With this coordinates, Pic-Nic approaches a group of characters that, even if they are only passing by that same beach, seem to have been there all along, in their routines as towel’s neighbors or in the anonymity of the mass that slumber under the sunshades. Quiet and sharp, the camera succeeds in making of a set of scenes a clear reflection on contemporary man and on the paradox of what we call ‚ maybe naïvely ‚ spare time.
Besides displaying virtuosity of To’s technique, Throw Down dares so show us his heart and soul. Framed as a tribute to Akira Kurosawa, the film is an almost impossible to characterize combination of black comedy, dreamy fantasy, and action. Three young lost loners, a washed-up judo champion, a sax-playing judo enthusiast, and a female singer who wants to be a star meet in a dingy bar in Hong Kong and ultimately egg each other on to pursue their dreams. He has called the film a journey of passion, self discovery and the courage to dream, [which] in many ways encapsulates my own journey as a director. (S. Kraicer)
Costica Arhir raises his three children in the village of Acui, Republic of Moldavia. His wife has left for Italy three and a half years ago to find work, and has not been home since. In a similar situation are around half of the active population of this country. This documentary film, shot between January and April 2007, uses fictional elements in storytelling and camerawork, creating a stage where the characters interpret themselves.
A visual meditation on the history of the American activism history as seen through cemeteries, historic plaques and markers. Inspired by Howard Zinn’s A People’s History of the United States the film is an ode to those who fought for their beliefs, to the powerful presence of place and protest in history and to the America’s enduring landscape. With no voiceover narration or dialogues, it is punctuated with wind blowing images exemplifying the forgotten voices of the nation’s earliest victims and those who have disappeared from the American cultural memory, and whose spirit and legacy it’s relevant to today.