Beto is the keeper of a house in Mexico City – empty for several years already – in which he used to work as a domestic help. The solitude of the last ten years, as well the monotony and routine of his job have made him lead a secluded life, which could seem suffocating for most people, whereas for him it provides a safe and stable environment, in contrast to the threatening outside world. He has develop a pathological fear for this world, to the point of limiting his contacts to only two persons: the lady of the house, for whom he has a feeling of deep gratitude and respect that is translated into obedience; and Lupe, a friend, a confident and a lover. Once he learns that the house has been sold, Beto is confronted to the dilemma of gathering the courage to get out and get a life or find a way of remaining in his confinement.
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In the 1970s, Director Kim is obsessed by the desire to re-shoot the ending of his completed film Cobweb, but chaos and turmoil grip the set with interference from the censorship authorities, and the complaints of actors and producers who can’t understand the re-written ending. Will Kim be able to find a way through this chaos to fulfill his artistic ambitions and complete his masterpiece?
The hardened son of a powerful industrialist returns home after years abroad and vows to take bloody revenge on those threatening his father’s life.
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Has-been director Harry Dawes gets a new lease on his career when independently wealthy Kirk Edwards hires him to write and direct a film. They go to Madrid to find Maria Vargas, a dancer who will star in the film. Millionaire Alberto Bravano takes Maria from Kirk. Count Vincenzo Torlato-Favrini takes Maria from Alberto.
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Second film in Ulrich Seidl’s Paradise trilogy. A devout Catholic woman practises her religion at home and in the local community, but is unprepared for the reappearance of her estranged husband, who is a Muslim.
By the start of World War II, Paul Robeson had given up his lucrative mainstream work to participate in more socially progressive film and stage productions. Robeson committed his support to Paul Strand and Leo Hurwitz’s political semidocumentary Native Land. With Robeson’s narration and songs, this beautifully shot and edited film exposes violations of Americans’ civil liberties and is a call to action for exploited workers around the country. Scarcely shown since its debut, Native Land represents Robeson’s shift from narrative cinema to the leftist documentaries that would define the final chapter of his controversial film career.
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Made in 1982, shelved for five years. Story opens with Lucja Krol’s husband under the tram. She gives birth to her fourth son on the floor of their new apartment. Neighbor Wiktor, a communist intellectual, befriends the poverty-stricken family but is soon arrested and sent to jail. During the war Lucja narrowly escapes a Nazi roundup at the black market. Her sons hold ardent Communist meetings in their apartment, with her blessing. Lucja works hard, but without complaint. After the war, Klemens is inexplicably arrested, accused by the new regime of being a collaborator. Wiktor, now a high-ranking party member, trying to defend him, himself falls into disgrace. Klemens is tortured to “confess” and dies in jail, a Communist to the end. Lucja is never told about his fate.
A story revolving around a dysfunctional family of two brothers who visit their parents and grandfather in Coonoor, and end up falling for the same woman.
Meursault is a man who feels utterly isolated from everyone and everything around him. This alienation results in sudden, inexplicable bursts of violence, culminating in murder.
