Fassbinder: Love Without Demands (2015)

예브게냐는 힘든 조건 속에서도 혼자서 아들 사샤를 꿋꿋이 키우고 있다. 그런데 십 대에 들어선 사샤는 현재 따로 살고 있는 아버지와 여름방학을 보내고 온 뒤 예브게냐와 거리를 두려 한다. 이에 상처를 받은 예브게냐는 자신의 자리를 되돌아본다. 제작 직후 정부에 의해 개봉을 금지당했으며 결국 1987년에야 정식으로 개봉했다. 1987년 로카르노영화제 국제비평가협회상 수상

한국, 일본, 필리핀의 세 감독이 교수와 제자의 얽힌 애정에 대한 이야기 아버지의 심부름으로 찾게된 곳에서 만난 여인과의 이야기 , 마을에 온 옛친구를 납치할 계획을 세우며 벌어지는 이야기 의 디지털 옴니버스 영화. '첩첩산중'. 우연히 전주에 있는 친구 진영을 만나러 간 미숙(정유미 분)이 자신의 옛 애인이었던 상옥(문성근 분)과 진영이 애인 사이임을 알게 되면서 벌어지는 일상적인 이야기. '코마'. 할아버지의 유언을 전하기 위해 코마라는 마을을 방문한 한 남자가 그 곳에서 한 여자를 만나 겪게 되는 따뜻하고 감성적인 사랑이야기. '나비들에겐 기억이 없다'. 캐나다의 금광 회사가 철수하자 경제적인 어려움을 맞닥트린 필리핀 사람들과 어느 날 그 섬을 방문한 캐나다 여성의 이야기.

Algerian filmmaker Tariq Teguia wrote and directed this impressionistic look at a man whose life takes an unexpected turn far away from home. Malek (Abdelkader Affak) is a surveyor from Algeria who is semi-retired, but at the urging of a friend he takes an assignment in Oran. The region in question was the site of frequent battles during Oran's civil war, and an earlier survey that would make it possible to bring electrical utilities to the area was cut short by the fighting. While the zone is still unstable, Malek sets out to complete charting the area, and finds the locals regard him with suspicion and hostility. However, not everyone is disrespectful, and he discovers a young woman (Ines Rose Djakou) who is attracted to him, which leads him to consider abandoning his old life to run away with her. Inland was an official selection at the 2008 Venice Film Festival.

A businessman goes home during the working day to change his trousers having spilled coffee on himself. When he arrives in the underground garage below his apartment block he finds a car on fire with a dead man inside. He also finds himself being filmed. He takes the video upstairs to his home and watches a man do ordinary things like shave etc before covering himself in petrol and setting himself and his car alight. Procter becomes a driven man as he tries to unearth what drove this person to kill himself in such an unusual manner. By Joachim Trier.

The themes of anarchy and individualism that run through Věra Chytilová’s work begin here, in an almost docu-realist look at women finding freedom and joy amid the rigid conformity of life in a communal factory dormitory.

Director Jonas Mekas travels through New York nights, through apartments, studios, backstage rooms, galleries, bars, and clubs. Encountering old acquaintances like Ken and Flo Jacobs, Yoko Ono, friends, brothers and sisters, sons and daughters. Mr. Mekas begins the film with the words 'I can't sleep.' Who hasn't been in this situation? Sleepy and yet wide awake at the same time, you find yourself in the world of those exhausted from the day's exertions, the drunk, the relaxed, the dancing, the brooding, the mourning, and the pensive.

Two boys, Li Ahh and Li Ohm, grow up motherless. Their father, Sui, is a workaholic who shuts himself out of the world. The boys' quest to reach out to their father leads them to adopt a puppy. But when the animal is sent away for being a nuisance, the boys are devastated. For the first time, Sui realizes that all his children ask is simply to love and be loved.

Focuses on a boy as he discovers love and comes to face the morality of his family. The film speaks of this through a web of oblique details, attempting to capture the flesh of relations and, perhaps, the very tension of being...

어느 시골 학교에 부임한 숫총각 교사의 사랑 만들기 코믹 멜로+ 리얼리즘 영화.

In "The Lead Shoes", we can neither thrust in our eyes nor our ears to help us understand how time flows or how space is. Therefore, Peterson forces us to take both space and time as relative experiences. The consistent disorientation in the film and our consistent inability to perceive them in absolute terms become the main subject of the film. Peterson makes us aware that space and time are more complicated than we think they are and they should be experienced in a more open-minded way. —Yoel Meranda

Director Frederick Ermler’s last silent feature and the last of four collaborations with actor Fiodor Nikitin. Nikitin plays an officer who spends a decade after the Great War as a shell-shocked amnesiac, until a glimpse of a woman through a train window sparks the return of his memory. He makes his way back to St. Petersburg, now Leningrad, a man out of time who struggles to make sense of the new society brought about by the revolution.

A documentary portrait of Miho Shimao, widow of renowned Japanese writer Toshio Shimao.

What follows is a black-and-white silent film set in the 1890s during the brewing Filipino revolution against Spanish colonialism. A series of tragic and comic sequences tells the Three Ages of an Indio (“common man”) as he progresses from boy bell ringer in a village church to teenage revolutionary to adult theater actor rehearsing a popular Spanish play.

Bilike has never seen a ping-pong ball before. He and his family live without electricity and running water in a solitary tent home among the vast steppe grasslands. The magnificent landscape here has changed little since the days of Genghis Kahn. But life in the middle of nowhere can be exciting for a young boy. The smallest of details become big events for curious Bilike and his best friends Erguotou and Dawa. The mystery of the small white ball floating in the creek leads to questions about the world around them, as well as innocent mischief.

시골에서 도시로 온 나디아는 발랴가 사는 아파트에서 가정부로 일을 시작한다. 그런데 나디아는 발랴의 남편 막심과 과거에 서로 사랑했던 사이였다. 지금은 서로 다른 삶을 살고 있는 세 사람은 슬픈 삼각 관계에 놓인다. 키라 무라토바의 단독 연출 데뷔작으로 감독의 연기도 함께 확인할 수 있다. ‘파편적 서사 구조’, ‘허무주의적 분위기’, ‘음란’ 등의 이유로 정부로부터 개봉을 금지당했다

Djomeh is a young Afghan man who has come to live in Iran because of family trouble. Working as a milk boy, he encounters discrimination from the Iranian villagers and disdain from Habib, a fellow Afghani to whose trust Djomeh was given. The only person who shows any friendliness to him is his employer, who Djomeh asks to intercede for him in asking a woman from the village for her hand in marriage.

급격하게 변화 중인 사회에 대한 감독의 비판과 우려가 녹아든 세 개의 이야기가 묶인 작품. 공동주택에 사는 이웃을 죽인 뒤 시체 처리를 고민하는 남자, 어린 시절 자신을 버린 어머니를 찾으려 자료를 찾는 여인, 가치관의 차이에 관한 대화를 나누는 할아버지와 어린이의 이야기가 차례로 펼쳐진다. 1997년 베를린영화제 경쟁부문 상영

Federico Veiroj’s fourth feature examines the many, often contradictory layers that make up one’s persona, in this case, a single dad and acclaimed artist who must learn to balance family with creativity.

Dolores is a mature and kind woman whose husband abandons her because he can't stand her uncanny generosity. Desperate to get her husband back, she devotes her life to works of charity, which is to go to bed with the other men of the town. Dolores, now "Lolita", becomes so famous that all men seek out her help now. It is through her compassionate sex that she brings back the colour and the happiness to a town that was immersed in sadness. Written by HoMordomo.

Jia Zhangke travels with painter Liu Xiaodong from China to Thailand as they as they meet everyday workers in the throes of social turmoil. Liu Xiaodong is well-known for his monumental canvases, particularly those inspired by China's Three Gorges Dam project. Jia Zhangke visits Liu on the banks of Fengjie, a city about to be swallowed up by the Yangtze River. The area is in the process of being "de-constructed" by armies of shirtless male workers who form the subject of Liu's paintings. Liu and Jia next travel to Bangkok, where Liu paints Thai sex workers languishing in brothels. The two sets of paintings are united in their subjects' shared sense of malaise in the face of the dehumanizing labor afforded them.