

Day of Despair(1992)
Portrait of the last days of the life of Portuguese writer Camilo Castelo Branco.


Movie: Day of Despair
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Home(en)
The ostensibly calm and courteous Gerald Ballantyne lives in and embodies modern suburbia. But he is haunted by the memory of a recent car crash and hounded by his estranged wife and her demands for divorce. Slowly, a festering insanity takes over and unwilling to face the outside world he embarks on a lunatic experiment. Confining himself to his middle-class home, he eschews contact with others and survives entirely off 'food' which he can find in his house. Based on JG Ballard's The Enormous Space.
Mana Huncha Khina Sawule Chuti Dinna Aama(en)
The air in London was damp and cold, a stark contrast to the vibrant warmth of Kathmandu that Anmol often dreamed of. It had been five years since he left Nepal for the United Kingdom, chasing the dreams his mother, Susmita, had envisioned for him. She had sacrificed everything-her small savings, her comfort, and her daily joy of having her son by her side-so Anmol could study and build a better life abroad. Anmol was a hard worker, juggling university classes and long hours at Amrish's restaurant. The boss, a shrewd businessman, valued profits over people. Anmol, like the rest of the staff, was little more than a cog in the relentless machinery of the restaurant's success. One evening, after another grueling 12-hour shift, Anmol sat on his small bed in his shared apartment. His phone buzzed. It was his mother. "Anmol, Dashain and Tihar are coming. I've cleaned the house and even set aside some money to buy your favorite sweets.
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The film tells the story of three best friends named Ako, Aki and Awang, who are well-known in their village for their mischievous and humourous pranks. The trio work for Pak Man. One day, they are assigned to pick up his daughter Misha, who has just returned from overseas and dreams of becoming a doctor. The trio have been in love with her for a long time but she does not pay them any heed. When Misha is robbed by a snatch thief one day, she is rescued by a doctor named Shafiq. Her face reminds the doctor of his late wife, and he begins to pursue her, which annoys the trio.

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Sherif el-Azma’s 52-minute video consists of improvised scenarios involving a cadre of stewardesses for a third-world airline. The first part of the video follows them through their training: the young women interrogate one another in varying tempo, learning how to be friendly yet reveal nothing about themselves. In the second part, two of the stewardesses work the first-class cabin of a turbulent flight. As the flight wears on, the refreshments run out, the real lapses into the fantastic and the stewardesses drift into strange and terrifying new spaces. The video’s evocative imagery—an older stewardess and her protégé walking in high heels through a desert—is at once comic and tragic and just slick enough to be uncanny. The simple sets are a deadpan foil for the absurd events that unfold within them. Samuel Beckett’s dramatic work comes immediately to mind.
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