‘Euridice lives imprisoned inside a metaphorical hell-house, in a country ruled by a dictatorship regime.
Having already served her time, she is waiting to be transferred “somewhere else”. However, the State Processor in charge of the prisoners transfers has been mocking her for days… maybe even years.
A long lost lover (Orpheus), contacts her asking to see her again. Euridice accepts, hoping that something will change yet she is also afraid of any changes.’
Sanja the Bandit after a particularly vicious shootout, stumbles into the musician Oleg at the local banya. Following a retelling of a semi-mythological story, the pair decide to make a pilgrimage to a “bell-tower of happiness”. Continue reading
A dejected beauty salon owner enters into a tenuous friendship with her shy, pre-operative transsexual neighbor in director Pernille Fischer Christensen’s simmering tale of affection and compassion. Thirty-two year old Charlotte (Trine Dyrholm) may own a successful beauty salon, but her failing relationship with increasingly unstable live-in boyfriend Kristian (Frank Thiel) has found her opting to strike out on her own for a change. As Charlotte embarks on a series of strictly sexual one-night stands upstairs, downstairs neighbor Veronica (David Dencik) – born Ulrick – earns her keep as a dominatrix while taking female hormones, awaiting approval for gender reassignment surgery, and occasionally accepting provisions from his doting mother (Elsebeth Steentoft). When Charlotte requests the help of her downstairs neighbor in moving some furniture and carelessly identifies Veronica as a male, the depressive pre-op laments her chances for surgery and attempts to overdose on pills. Her suicide-attempt unexpectedly announced to her neighbors thanks to her whimpering dog Miss Daisy, Veronica is subsequently saved when Charlotte hears the animal’s desperate cries and rushes her ailing neighbor to the hospital. Her selfless favor returned when Veronica defends her against a drunken Kristian shortly thereafter, lonely Charlotte eventually finds herself developing strong feelings for her neighbor despite her longstanding preference for the opposite sex.
A landmark in fantasy cinema, this lyrical ghost story is set in medieval Japan amid a bloody conflict between rival fiefdoms. While the warrior Kichi’s impoverished wife (Jitsuko Yoshimura) and mother (Nobuko Otowa) wait for his return from battle, they maintain a humble existence by luring lost soldiers into the surrounding fields of tall grass and murdering them in order to sell their armor and weapons for food; the bodies are then disposed of in a deep cavern. After learning that her son has been killed in battle, Otowa begins to concoct a scheme to frighten her daughter-in-law into staying at home with her indefinitely. After killing a soldier clad in a hideous demon mask — which hides his grotesque, scarred face — the mother dons the mask and succeeds in frightening Yoshimura away from her new lover’s house. To her own horror, the mother quickly discovers that the mask is now securely stuck to her face, and her attempts to remove it culminate in the greatest horror of all. Fraught with sexual tension, nefarious schemes, and Freudian symbolism, this compelling masterpiece, by turns hypnotically beautiful and shockingly brutal, represents the finest in horror filmmaking, driven by powerful imagery and aided by sumptuous black-and-white photography.
(Cavett Binion on All Movie Guide)
As Frédérique lies dead on her kitchen table at the hands of Christophe, police try to piece together the events that led to the gruesome killing. Frédérique’s teenage daughter narrates the tragic tale of love gone wrong.
Review by Kevin Vu: Though it possesses the voice of a notorious auteur, “Perfect Love” is one of Catherine Breillat’s lesser works. Despite being her sixth feature, the film seems like an early and minor effort, containing recurring elements explored in more accomplished films (e.g. “Fat Girl” and “Romance”), not to mention the sex and flesh that marries her reputation with vulgarity and controversy. Although Breillat has since found alternative outlets for her provocation and feminine rage, such as costume drama and fairytale, she has always challenged the conventional notions of sex using facets of the human body and soul that she strips bare – figuratively and literally. The plot here is not a matter of boy meets girl, and it never is for Breillat as she continues to reveal human depravity through sexuality. Continue reading
Plot Synopsis by Lucia Bozzola
It’s the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry “The Toad” (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s.
Middle-aged Hideo lives alone with an inflatable doll he calls Nozomi. The doll is his closest companion. He dresses it up, talks to it over dinner, and has sexual intercourse with it. However, unbeknown to Hideo, Nozomi was created with a heart. After Hideo leaves for work each day, Nozomi dresses in her maid’s outfit and explores the world outside their apartment with a sense of child-like wonder. She encounters various city residents who metaphorically are as “empty inside” as she is. When Nozomi meets Junichi, who works at a local video store, she falls in love with him and gets a part-time job at the store. She learns about the world through the movies she watches with Junichi, but her happiness with him is interrupted by a dramatic turn of events. Director Koreeda has stated that the film is about the loneliness of urban life and the question of what it means to be human.