Volver a morir (2011)
Género : Terror, Suspense
Tiempo de ejecución : 1H 20M
Director : Miguel Urrutia
Escritor : Miguel Urrutia
Sinopsis
Camila despierta sin saber en dónde está. Se encuentra desnuda en la cama de Darío, un completo desconocido; adivina una turbia noche de trago y sexo. Al vencer su timidez e intimidar nuevamente con Darío, él la asesina inesperadamente. Este es sólo el inicio de la historia. Camila regresa atrás en el tiempo, al momento justo en que despierta y recuerda todo, por lo cual reacciona en pánico, pero no le sirve de nada porque nuevamente Darío la asesina. Así, Camila queda atrapada en una pesadilla, donde los hechos se repiten en un loop en el que, inevitablemente, muere una y otra vez. Sin embargo, con cada muerte, ella logra sumergirse en la complicada y apasionada mente del asesino, de tal forma que puede conseguir información que le podría salvar la vida. Su dilema es que al internarse tan profundamente entre las sombras podría perderse en la oscuridad.
We move back and forth between scenes of a family at home and thoughts about the stars and creation. Children hold chickens while an adult clips their wings; we see a forest; a narrator talks about stars and light and eternity. A dog joins the hens and the family, while the narrator explains the heavens. We see a bee up close. The narrator suggests metaphors for heavenly bodies. Scenes fade into a black screen or dim purple; close-ups of family life may be blurry. The words about the heavens, such as "The stars are a flock of hummingbirds," contrast with images and sounds of real children.
A short film by Hollis Frampton.
In honor of the cat, so named, and the goddess of all cats which she was named after. - CAT Film Festival
The first NFL Films feature, it established the trend of dramatizing the game itself and not the outcome.
A necrophilic doctor, a man wearing headphones and a bunch of cannibals are just a few of the characters in this bizarre debut by director Lê Bình Giang about the cyclical effect of violence.
The final Duplicity film does seem at resolve with the term. All previous visual manifestations have been extended to their limits, through four-roll superimpositions. Obvious costumes and masks. Drama as an ultimate bid for truth, and totemic recognition of human and animal life-on-earth dominate all the evasions a duplicity otherwise affords.
Durante el reinado de Luis X, el Capitán Buridan llega a París por la época en que todos los días se descubrían cadáveres flotando en el Sena en las proximidades de la Torre de Nesle. Los asesinatos se cometían después de las orgías que allí tenían lugar. El Capitán Burídan así como Phílippe d'Aulnay, hermano del favorito de la Reina, Gaultier d'Aulnay, son conducidos a una de esas orgías y a la emboscada que le sucedía. Phílippe es asesinado no sin antes identificar a la Reina Margarita de Borgoña...
Una docena de elegantes personas se reúne en la mansión de un exitoso escritor. Siguiendo la tradición de Agatha Christie, todos ellos tienen algo que esconder. Entre los invitados, figura uno que es odiado por todos los demás, por sus formas de actuar y su malevolencia. Los invitados comienzan el juego de la verdad, un juego donde se supone que no debes decir mentiras. Las preguntas se vuelven cada vez más íntimas y precisas, y los ánimos irán en aumento. En medio de este clima, alguien es asesinado, pero, ¿quién lo hizo?
A short film by Stan Brakhage.
A send-up of Griffith's THE LONELY VILLA and other movies of that sort, such as THE GIRLS AND DADDY, THE LONEDALE OPERATOR and many others, as the heroine, thinking that burglars are trying to break into her home phones her husband at the office, who rushes home.... well, who tries to rush home in his chauffeur-driven automobile.
An experimental animated short film in which a piano plays a song and the keys, hammers, and various other parts of the piano are different colors.
The second part: Brakhage’s layering of images spends less time with images of war, and begins filtering in scenes of Vienna and his home in Colorado. He sets up a comparison between “Kubelka’s Vienna” and his own.
A female teacher begins an ambiguous relationship with a student, an agnostic teenager is « called » by God, a photographer offers herself to a stranger : do we choose to love, do we choose to be loved ?
This meditation takes its visual imperatives from the occasion of Mesa Verde.
A science fiction story about a young boy who discovers and befriends a small robot at a shopping arcade. The robot is hungry and he grows in size as he devours a number of machines of increasing size.
When Mario, a bad boy, is released from prison, he plans to live honestly with his wife Geneviève. But the latter has not waited for him and Mario, out of spite, accepts to work as a tout for Mr. Charlie, the boss of a white slave trade gang. His first assignment consists in seducing Michèle, a Montmartre nightclub singer and hostess, into signing a contract for Tangier. The young woman, however, who does this job only to support her young sister Danièle, falls for him and he for her. From then on Mario, without betraying himself, does his utmost to save Michèle -and Danièle for that matter - from the clutches of the gang...
A short film by Stan Brakhage.
This film by Stan Brakhage investigates the process of memory and thought by melting a series of images and a field of color. The positive-negative flickering graphs a sort of shutter-window all over the matter of the vision. Jittery flocks of space are interweaving as pieces of language in a scant illumination, whereas the process of thought is sheared in fuzzy transience.
“The Riddle of Lumen” presents an evenly paced sequence of images, which seem to follow an elusive logic. As in “Zorns Lemma” the viewer is called upon to recognize or invent a principle of association linking each shot with its predecessor. However, here the connection is nonverbal. A similarity, or an antithesis, of color, shape, saturation, movement, composition, or depth links one shot to another. A telling negative moment occurs in the film when we see a child studying a didactic reader in which simply represented objects are coupled with their monosyllabic names in alphabetical order. –P. Adams Sitney
“Freud established that jokes were structurally akin to dreams in their use of condensation, displacement, representation by opposites, punning and ‘nonsense’. All of these strategies are much in evidence in (Land’s) marvelously duplicitous ON THE MARRIAGE BROKER JOKE… [...] so clever and original a filmmaker as to make most others – not to mention his critics – seem flat-footed by comparison. ON THE MARRIAGE BROKER JOKE harks back to Bunuel’s early work. Not only is it structured like a dream and filled with sexual imagery, but like Un Chien Andalou, it smacks of being an insider’s joke played upon the avant-garde. Where Bunuel used the insights of psychoanalysis to satirize Christianity, Land– with an almost equal perversity – reverses the process and uses Christianity to send up Freud.” – J. Hoberman, American Film
