With little or no embellishment, filmmaker Marguerite Duras offers a simple, often wordless chronicle of a woman’s day. She and her friend are seen doing yard work, talking about their families and receiving the occasional visitor.

This urban fantasia interweaves recollections of the director’s young adulthood in the era of Mussolini with an impressionistic portrait of contemporary Rome, where he and his film crew are gathering footage of the bustling cityscape.

The destructive downward spiral of a man who returns from the French Foreign Legion to his suffocating life back home. Hans Epp is a self-destructive man who lives a dissatisfied life.

A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.

“[...] That millions of people every day pay huge sums of money and go to great hardship merely to enjoy fear seems paradoxical. Yet it is no exag­geration. Any carnival man will tell you the rides that attract the greatest clientele are those that inspire the greatest fear.

“The best explanation of this film is that, from the standpoint of pure reason, there is no explanation.”

Luis Buñuel1

The story of the repression of a member of the Angolan liberation movement and his endless search for his wife with his son, revealing of how the bureaucratic logic of colonialism works.

It’s 1560; the Spanish Empire’s reach has come across South America. Now leading an expedition on the Amazon River, a group of Conquistadors are now looking for the legendary city of gold: El Dorado.

Panning shots describe the space of a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. Sitting on the bed there is the presence of a young woman: the filmmaker herself, eating an apple.

“In the second of her 1972 experiments, Akerman again wanted to draw viewers’ eyes to elements in the frame that they might not otherwise have considered. Similarly focused on architecture and interior spaces, Hotel Mônterey is grander in scope than La chambre.