Ten-year-old Frantisek is traveling to Leipzig to visit his German friend Egon. On the train, he shares the compartment with three men. One of them, the bearded, hefty Blasius is polite but at times acts very confused. At the end station the two boys meet, but they must first of all get rid of Blasius, who lifts them up together with their luggage and carries them away. Leipzig is packed with tourists who have gathered for the famous Fair. The eccentric bearded fellow deals effectively with the traffic jam in front of the station. Blasius's fellow travelers from the train - inventors Prantl and Pirwitz, are at the fairground, boasting of their new invention and claiming it to be the greatest surprise of the entire Fair.
Egon
František Prokop
vynálezce Oskar Pirwitz
Ten-year-old Frantisek is traveling to Leipzig to visit his German friend Egon. On the train, he shares the compartment with three men. One of them, the bearded, hefty Blasius is polite but at times acts very confused. At the end station the two boys meet, but they must first of all get rid of Blasius, who lifts them up together with their luggage and carries them away. Leipzig is packed with tourists who have gathered for the famous Fair. The eccentric bearded fellow deals effectively with the traffic jam in front of the station. Blasius's fellow travelers from the train - inventors Prantl and Pirwitz, are at the fairground, boasting of their new invention and claiming it to be the greatest surprise of the entire Fair.
1975-07-11
3.3
The 1978 kidnapping and assassination of former Italian Prime Minister Aldo Moro by Red Brigades terrorists
People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.
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