A little girl must suddenly confront her isolation due to puberty and the death of her father. She gradually sees her childhood relationships slip away as her life and life around her change.
Deborah
Stanley
Beryl
Henry
Glenda (as Kylie Dragna)
Maxine
A little girl must suddenly confront her isolation due to puberty and the death of her father. She gradually sees her childhood relationships slip away as her life and life around her change.
2001-01-01
0
A Marvel employee's workday is spent attempting to grant a terminally ill child's wish to see an unreleased Captain America film, leading to dark comedy and commentary on corporate control over art.
An indigenous lawyer represents the division among his people between traditional caring for the land and developing the resources it contains.
Frank E. Jessop presents a revue of the dancing and singing acts of the time.
A well meaning math teacher finds herself trumped by a post-fact America.
In the eighties, Hito Steyerl shot a feminist martial arts film on Super-8 stock. Her best friend Andrea Wolf played the lead role, that of a woman warrior dressed in leather and mounted on a motorcycle. The engagement expressed in the formal grammar of exploitation films later became Wolf’s political praxis: She went to fight alongside the PKK in the Kurdish regions between Turkey and northern Iraq, where she was killed in 1998. Now honoured by Kurds as an “immortal revolutionary,” her portrait is carried at demonstrations.
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.
Srinivasan is a young architect. He is happy when he gets a good job and a beautiful girlfriend, Tara. But then an accident disfigures him. Tara leaves him and Srinivasan, now sans his confidence, withdraws into his shell. Then he meets the beautiful Ragini who is willing to accept him despite his disfigurement. They get married, but after a while, he begins to doubt her true identity.
To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.
Parabola is a celebration of film’s ability to create new ways of seeing the forms around us. Creating juxtapositions between light/shadow, stasis/motion, and form/music, this black-and-white short invites us to see the parabolic curve, or “nature’s poetry,” as both invigorating and beguiling.
Because of a storm, the Gang has to stay overnight at Darla's house, and they drive her father crazy.
While trying to track down Butch, Spanky and Alfalfa get caught up in a dance recital.
When they overhear Miss Witherspoon, the school superintendent, say that nothing short of an epidemic will allow the school to be closed for a week, the Our Gang conspire to fake illness.
A goat annoys Farmer Al Falfa and Puddy the Pup. He's always butting in. They fix the billy goat by putting roller skates on him.
Junior and Pudgy slip away from Betty Boop's care to go hunting with a pop-gun.
Alfalfa tries to back out of a fight by pretending to be incapacitated.
The Wild Chicks are slowly growing out of their youthful gang years and have to face the worries of growing up on the sidelines of a big class trip before graduation.
Nicolas, an aimless adolescent who hasn't yet found his way in life leaves his grandparent's home, hitchhikes to a small town, and befriends, Charly an outspoken and slightly older prostitute, a red-headed beauty who appears to ply her trade in the same no-nonsense way she clears the breakfast dishes. She seems to find something endearing about Nicolas' mussed hair and dopey face, so she puts him up in the teeny trailer home that she maintains with such hilarious fussiness. As their unusual domestic arrangement evolves, each stumbles vulnerably into new emotional territory.
A mother and daughter dispute is resolved by the "Yaya sisterhood" - long time friends of the mother.
With their father away as a chaplain in the Civil War, Jo, Meg, Beth and Amy grow up with their mother in somewhat reduced circumstances. They are a close family who inevitably have their squabbles and tragedies. But the bond holds even when, later, male friends start to become a part of the household.