"Vanity of vanities, everything is vanity" says the bible. The word flows from the tongue naming the pleasure of earthly life and judging it as beautiful, but shallow and useless; vanity is a deadly sin. A female sin. The man painted the woman, put a mirror in his hands and called it vanity. The woman in representation admires herself, but the one who really admires her body is the artist. Whose vanity? In VANITAS, we re-divide the woman in our bodies, showing the depth of what is palpable. If the Father's temple hides after death, clean and perfect, we reject them. We welcome Mother Nature in us, life-death in a perpetual sacred cycle, also honoring her dark face. You may wish to reach heaven, but it is on earth that your knees fall.
When two couples take a weekend camping trip. They soon find out that one of them have an old urban legend that just wont die.
The film tells the trials and tribulations of marriage Kosińskich, which breaks down as a result of his wife travel to work abroad in Amsterdam. The woman extends her stay in the Netherlands, and eventually divorces her husband Paul. In parting, their deprived son Michael looses both parents, and is forced to be present in court for divorce hearings and sent to child care services.
Thought about stones in a small Italian town. Workshop film made in Saint Angello Le Fratte, from 8th to 12th of July 2019.
Mer Rose Claire is part of Arvers’ ongoing abstract machinima series La Mer (2016-) which depicts shapes and abstract landscapes created by the Moviestorm game engine. Evocative of peaceful marine scenes, these videos produce an hypnotic effect on the viewer as abstract patterns, their folding and unfolding, become a generative matrix of what Georges Perec called species of spaces. This mesmerizing, rhythmic movement alters the viewer’s perceptions.
Carlos wakes up in the middle of a forest and is pursued by a sociopath who will not stop to kill him. His only hope is another woman, who lives secluded in the woods and that will help him face his predator.
A coming of age drama set in Texas, about a suburban teen boy, estranged from his family, who enlists the help of his dysfunctional friends to become a professional motorcycle racer.
In the 1960s, there were few places on Earth as quiet and peaceful as Thailand's Chumporn province, This tranquility is shattered the day an unknown dead man's body is found along the banks of the river waterway. Soon after, villagers began to mysteriously disappear for no reason.
Baron Brusenhielm at castle Tröstehult in Skåne dislikes how his young son Karl Oscar is playing “mother and father” with the tenant’s daughter Ann-Marie, as he anticipates the beginning of a future misalliance. Years pass, and Karl Oscar is about to graduate high school. He pretends to study church history but reads in fact “The Seducer’s Diary” and thinks of Ann-Marie, who is now grown up into a woman.
Bad People is a dark comedy feature film that begs us to laugh at the absurdity that is all around us: crack smoking politicians, prostitutes turned reality stars, religious charlatans, sex obsessed online dating, elitist parents, infidelity, and political correctness. Told through the lens of several short stories, the film examines the hysterical dark side that permeates our society today.
Popeye's Pappy takes a flagpole sitting job atop a tall building without telling Popeye. Popeye goes to rescue him, but he doesn't want to go until an electrical storm hits.
Krishnaveni faces a dilemma when her boss thinks she is dating Murali, a millionaire.
The film’s content makes no concessions to the usual expectations of Soviet audiences of the 1930s. The cast of characters is extremely unlikely in almost every conventional respect. The action involves the household of the prominent Dr. Stepanov and his young wife, Masha, who share their large and richly adorned mansion with the parasitical Fedor Tsitronov, whose presence in the household is given only the most implausible of explanations. Equally implausible is the acquaintance of the family with the young and proud Grisha Fokin, whose leadership role in the Young Communist League is never clearly defined and who is never seen engaged in any work or professional activity.