To ease her homesickness Miriam recreates an aspect of home in her suburban British garden. Cultural memory exerts a healing power, combatting cultural appropriation, hostility towards migrants and the rift between Miriam and her Nigerian-British children.
Fumi
Abe
Sunny
Betty
Nigerian Woman
1st Girl
2nd Girl
To ease her homesickness Miriam recreates an aspect of home in her suburban British garden. Cultural memory exerts a healing power, combatting cultural appropriation, hostility towards migrants and the rift between Miriam and her Nigerian-British children.
1993-01-02
0
When a teenage girl says she's the victim of a secret network called The Sisterhood of Night, a quiet suburban town becomes the backdrop for a modern-day Salem witch trial.
Antonis arrives at a hotel resort by the sea. It is wintertime, the hotel is closed and Antonis drifts around alone. He has a lot of time to kill. Until television announces the disappearance of the famous TV host Antonis Paraskevas…
Cavani made her first full-length feature film in 1966 with Francis of Assisi (Francesco d'Assisi). Made for television and aired in two parts, it was deeply influenced by the style of Rossellini and the atmosphere typical of the films of Pasolini. Made in a period of political unrest, it was to become a kind of manifesto of dissenting Catholicism. Starring Lou Castel, it portrays Francis of Assisi as a slightly depressed protestor and an avid, albeit mad, supporter of armed brotherhood. The ideal defender of the 1968 student movement. The film was a great success, but also triggered many negative reactions. It was called "heretical, blasphemous and offensive for the faith of the Italian people". It was the first of many polemical reactions to Cavani's work.
The film concerns an old Irish immigrant living in London who is looking back over his life. He recalls his early life in the west of Ireland, his first love, emigrating to England, searching for his brother Joe, who disappeared after he emigrated several years previously. His marriage and wife's later depth is also remembered.
Set in the Dominican Republic, Leticia Tonos Paniagua’s uniquely Caribbean retelling of Romeo and Juliet chronicles the love between a kind-hearted teenager, ostracized for his mixed Haitian-Dominican descent, and the beautiful sister of a local drug kingpin he’s hired to protect.
Nerea is 37, is married and has a daughter. Professionally Nerea is a journalist and has to spend most of the day in the newspaper, subtracting much time to her family. The difficulty in balancing work and personal life greatly overwhelms the protagonist and the problem does not get worse when her mother, Luisa, Alzheimer patient is admitted to hospital.
The Disciple is set in the summer of 1939, when 13-year-old Karl arrives in the Åland Islands in the Baltic Sea to work as lighthouse master Hasselbond’s assistant. Hasselbond, however, turns him down because of his young age. Karl struggles desperately to stay on and makes friends with Hasselbond’s oppressed son, Gustaf, but their friendship changes to rivalry and hate when Hasselbond starts to favor Karl over his own son.
An elderly woman, tired of being ignored, goes on a crime spree. Her victims are those who've "looked past her".
The Beans are poor, proud, hated by all, but alive in the sense that they struggle against their lot and support each other in time of trouble. Earlene lives across the street from the Bean's trailer, and the view from her window is better than any daytime television soap opera; especially Beal Bean, and especially Beal Bean shirtless. When Reuben Bean is sent to prison for resisting arrest for out-of-season deer hunting, Beal takes up with Reuben's woman Roberta. He also has a child by Earlene, with a triangle of sex complicated by poverty.
Based on Quentin Tarantino's quote of Omission "What you leave out is as crucial as what you put in."
Filmed in Miami during Hurricane Isaac, 'When We Lived in Miami' is a hypnotic short about the lengths one woman will go to keep her family from falling apart.
A large group of children from different countries sail to the Black Sea port, heading for the international pioneer camp "Artek". Two stragglers of foreigners meet local teenagers who arrange a tour of the port for them.
Céline, 11, meets Peter, 40. Together they go on a "luminous journey" in his beautiful red truck. She, escaping her desperate and incestuous father; he, far from his native Scotland and the sad memory of his lost wife and daughter. In the course of a few days, a few words, Céline experiences her first true moments of childhood and lightness, exhilaration and trust. Peter goes towards the last days of a life that he offers, like a sublime and aging angel, to this wounded child.
Are we what others see, or are we what we allow others to see? Most likely it is the view of others which delimits our own identity, as a young divorced mother named Julieta convinces herself. This evening is like any other: her two young sons are roughhousing in their cramped apartment. They whoop and shout while their mother makes desperately futile attempts at the computer to concentrate on writing a report for work. Feeling intense pressure, Julieta tries to quiet the conflict but finds it difficult without a partner to help. The tense situation changes unexpectedly when her two-year-old falls and hurts himself. In this story of a mother suspected of hurting her own child, the movie investigates themes of motherhood, guilt, duty, the role of men and women, fathers and mothers
The story of Helena, a recently graduated attorney who works as a public defender of children and adolescents in the courts of the city of Santos, Brazil, and her brother, the teenager Caio, who will commit a serious crime. De Menor participated in Films in Progress at last year's San Sebastian Festival.
A philosophy-obsessed serial rapist stalks a university campus in broad daylight.
Shut inside their cars, two women face off in a silent duel that is fought out in the intimate violence of their stares. A wholly female duel punctuated by the refusal to drink, eat and sleep; more obstinate than the sun of Palermo and more stubborn than the ferocity of the men who surround them. For, as in every duel, it is a question of life or death... It’s a Sunday afternoon. The sirocco is blowing pitilessly in Palermo when Rosa and Clara lose their way in the streets of the city and end up in a sort of alley: Via Castellana Bandiera. At the same moment, another car driven by Samira, crammed with members of the Calafiore family, arrives from the opposite direction and enters the same street.
In 1972, Djibril Diop Mambety shoots "Touki Bouki." Mory and Anta are in love. Two young lovers share the same dream: to leave Dakar for Paris. At the fateful moment, Anta embarks. Mory stays alone on quay, unable to tear himself away from his land. Forty years later, "A Thousand Suns" investigates the personal and universal inheritance which represents "Touki Bouki." What has happened since? Magaye Niang, the hero of the movie, has never left Dakar. And today, the old cowboy wonders where Anta is, the love of his youth. Stories about family, exile and cinema meet between the sphere of intimacy and that of myth.