Two young women go down to the Hôtel des Acacias. The owner is unattached and ready to fall in love with the first woman who comes along.
In the second installment of Eric Rohmer’s ‘Comedies and Proverbs’, obsession meets indifference in the form of a young art student (Béatrice Romand) who is determined to leave the bohemian life and marry a successful lawyer (Andre Dussollier).
An intimate portrayal of an opera singer/mother and her four children who act out amusing challenges while revealing hidden private tragedies in front of the camera.
Anne Charlotte Robertson’s Five Year Diary is a multiform work including word, moving image, sound and food diaries and spans not five, but rather forty years of the artist’s life.
The child Ernesto doesn't want to go to school any more because, as he says, all he is taught there is things he doesn't know. Marguerite Duras’ 1971 story ‘Ah!
A research team in Antarctica is hunted by a shape-shifting alien that assumes the appearance of its victims. The film was a re-make of The Thing from Another World (1951) by director Christian Nyby, although it is usually attributed to its producer Howard Hawks.
One of the first feature films directed by an African American woman, Kathleen Collins’s Losing Ground tells the story of a marriage between two remarkable people, both at a crossroads in their lives.
“Paulo Rocha started to work in the early 1970s on a project about the life of Wenceslau de Moraes, a Portuguese writer and former Navy officer who settled in Japan in the late 19th century.
“Blending an episodic romance with children’s family problems and the pollution of the local river, Green, Green Grass compares favorably with Ozu’s lyrical comedies of the 1930s.
“Wednesday September 27, 1978:
“This sense of unrootedness and disorientation may stem largely from an aesthetic dissonance between Fassbinder and Genet [whose novel Querelle de Brest was adapted by Fassbinder], both in terms of agenda and the times in which they were working.
“Where are we in Ana? In Portugal, since the filmmakers are Portuguese. But this small country is still too big.
In the night, a door suddenly opens.
A woman, her shoes in her hand, throws herself into the arms of a man.
A phone rings, a man rushes in, out of breath.
A slow dance crosses the feverish night.
“Leçons d’une université volante is a quintet of short interviews with Belgian immigrants from communist Poland. The Dardennes have said one of the reasons they made documentaries was to gather people together and build communities of workers, immigrants, and activists.