Życie jest piękne (1958)

퀴드(Pat Quid: 스테이시 키치 분)는 오스트레일리아 동서부를 가로질러 정육을 운송하는 트럭 운전사이다. 모텔 앞에서 조심스럽게 쓰레기 꾸러미에 온 신경을 쓰는 수상한 자를 보게 된다. 하이웨이를 달리던 퀴드는 그 모텔에서 살인 사건이 일어난 것을 알게 되고 곧이어 인적없는 벌판에 차를 세운채 무언가를 묻는 사람을 다시 본다. 섬뜩한 느낌과 함께 하이웨이에서의 토막난 여인 살해 사건이 계속 보도되는데...

Experimental psychodrama about a friend of Krolikiewicz's alcohol addiction (though the themes of the film are universal). One of the first attempts to apply the director's theory of "Film space outside the frame".

Greek Theo Angelopoulos traveling from Athens to Ostia, the Roman beach where Pasolini was killed. Far from there, in a Spanish train station, Víctor Erice wanders in an interview about the film resistance. And in Italy, Tonino Guerra, Ninetto Davoli and Nico Naldini lend his voice to the missing Passolini to close a historic triangle on film and solitude.

A kitten who is being tormented by a bulldog finds a savior in a black cat (from the "Black Cat Bad Luck Company") who merely has to cross the dog's path for something very unlucky to happen to the bully.

성배를 찾기 위한 고투에서 실패하고 돌아온 아더왕과 기사들. 아더는 자신이 신을 노하게 했을지도 모른다는 두려움 속에서 원탁의 방을 폐쇄하고, 남은 기사들은 두 개의 파벌로 나뉘게 된다. 란슬로트를 중심으로 모인 기사들은 그가 영광을 다시 가져주리라는 희망을 갖고 있는 반면, 다른 편의 중심인 모드레드는 성배 찾기에 반대했었던 인물로 이제 란슬로트에 대해 음모를 꾸미고 있다. 그러나 란슬로트는 왕비 기니비어에 대한 사랑, 아더왕에 대한 충성, 신에 대한 경배라는 어려운 문제를 놓고 무엇이 옳은 길인가를 끊임없이 자문한다.

Miguel Picazo started his film career in 1964: "La Tia Tula" turned him into one of the most distinguished directors in the New Spanish Cinema trend. This documentary approaches his work and personality through his own words. Having only directed a bunch of films, among which "El hombre que supo a mar" or "Extramuros", at his age of 87 Picazo still waits for a new chance to keep on directing films.

"UNEMPLOYMENT DAY: MARCH 6th 1930." "Contingents of marchers arriving at Tower Hill." A long column of marchers carrying banners moves through great crowds (89); CS of a girl selling the 'Daily Worker' (99). "the Workers' International Relief food kitchen." Men and women eating sandwiches and drinking tea dispensed from the back of a lorry (190): a further shot of the assembled crowds (213). "A London docker speaks". A shot of his audience (223). "A women's contingent." A group of women hold up a banner which reads 'Thousands of children die of starvation in Britain - we demand bread (235); a speaker talks to the crowd (259). The demonstrators proceed to the Mansion House. The procession moves on (305).

The Spanish Civil War (1936-1939) caused a great impression on the lives of most of the American artists of that era, so many movies were made in Hollywood about it. The final defeat of the Spanish Republic left an open wound in the hearts of those who sympathized with its cause. The eventful life of screenwriter Alvah Bessie (1904-1985), one of the Hollywood Ten, serves to analyze this sadness, the tragedy of Spain and its consequences.

Story of a retired old man who is learning what to do with himself.

What is the nature of life? What is the nature of art? How can art influence our lives? These are the questions of this movie. The main character, a man who lives both in the world of dreams and reality, searches his past, in order to understand its meaning. He has meetings with the ghosts of his dead friend, his dead lover, his dead father and Pessoa, the great portuguese writer. These four encounters give him clues about what he is looking for. Beside that, he finds himself in front of art, discovering how it modifies our comprehension of life. It's based in one of Tabucci's (the italian writer)books: "Requiem". This few lines cannot resume the greatness of this movie. The last thing I can say is: If you like art, I recommend you to see it. If you ever wonder about the nature of dreams, or you live in dreams half of the time, I think you'll feel like this movie was made for you.

Face Value is a film combining a conscious approach with spontaneity, and contemplation with action. It presents us with the differing views of a region we call “Europe”, an imaginary Europe situated somewhere between London, Marseilles, Prague and the Netherlands.

평범한 사업가로 늘 평범한 출장을 다니는 후안 데우소사는 평소와 다를 것 없는 출장 길에서, 옆 좌석 남자가 갑자기 죽은 것을 발견한다. 이로서 출장은 이전과는 다른 여행길이 된다. 죽은 남자의 신원을 사용해 새로운 직업, 새로운 집, 새로운 삶을 가지게 된 것이다. 이제 후안은 자신이 누구인지, 자신에게 주어진 이 시간에 무엇을 할 것인지 찾아가기 시작하며, 바로 이것이 감독 로테르의 작품에 새겨진 각인과도 같은 주제이다. 진정 새롭게 다시 시작할 수 있는 기회를 맞은 후안은 이제 자신의 예전 삶으로 돌아갈 지를 결정해야 하는 상황에 놓인다. (제12회 부산국제영화제) “그 누구도 우리를 알아보지 못한다. 왜냐하면 아무도 우리를 모르고, 우리 역시 그 무엇도, 그 누구도 모르기 때문이다. 그렇다면 이렇게 자유로운 선택의 여지가 열려 있는 마당에 자신의 정체성이라는 짐을 굳이 져야 할 이유가 있을까? ‘나’라는 특정 개인에 따른 모든 사항을 벗어 버리고 다른 어떤 사람이라도 될 수 있는, 더 나은 길이 있는데 말이다.” – 아리엘 로테르

“This shows the Fire Department leaving headquarters for an early morning fire. The scene is remarkable for its natural effect. The opening of the engine house doors, the prancing of the horses, and even the startled expression upon the faces of the spectators are all clearly depicted.” (Edison Films, 1897)

Comedy with fairy-tale touches, about Kate, who wants to marry, and Mr. Devil, who is not interested in the heart or soul of this passionate and aging lady, but is interested in her good cooking – for Mr. Devil is a glutton.

Christmas Eve. A poor orphan boy trudges through the snow, pathetically. He finally arrives at his miserable cabin. While he is crying, Santa arrives and, singing the title song, offers to take the boy to his workshop. They arrive, and the toys go wild (in the full version, they sing the title song, but this has been censored in some versions due to outdated stereotypes). He plays with a few toys. A candle falls off the tree and starts a fire. The toys try in vain to fight the fire; the boy hooks up a hose to a set of bagpipes and takes care of it.

In 1962, François Truffaut visited the Mar del Plata Film Festival to present his competition in the brand-new Jules and Jim. At that stage of the Festival, from 1954 to 1970, names that today sound mythical were common figures among the guests. Truffaut, along with his colleagues from the Cahiers du Cinéma, would take French films by storm with Les 400 Coups (1959) and the Nouvelle Vague would become a key movement in the history of cinema. A few years after his debut and accompanied by the success of Jules and Jim, Truffaut was already well on his way to becoming a legend. In his visit to the Festival, in 16 mm titled Los 4 Golpes (this, in Castilian), even exhibiting in that look a playful look on his work. This short film, for different reasons, was rarely shown and remains a rarity in the director's film.

Line of Demarcation. is a 1966 film written and directed by Claude Chabrol. Its title in French is La Ligne de démarcation. It is based on upon the memoir Mémoires d'un agent secret de la France libre et La Ligne de démarcation by Gilbert Renault under his pseudonym Colonel Rémy. A small village in the Jura is split by the river Loue which creates the line of demarcation between Nazi occupied France and freedom. A French officer, Pierre (Ronet), is released by the Nazi soldiers to find his chateau converted into a German command centre. Whilst he is obliged to co-operate with the enemy, his wife Mary (Seberg) supports the resistance movement and is willing to risk her life for it. The Nazis step up their activity against the resistance, insisting that any who attempt to cross the line of demarcation will be shot. When his wife is arrested, Pierre decides to switch his allegiance.

Manuel Artiguez, a famous bandit during the Spanish civil war, has lived in French exile for 20 years. When his mother is dying he considers visiting her secretly in his Spanish home town. But his biggest enemy, the Spanish police officer Vinolas, prepared a trap at the hospital as a chance to finally catch Artiguez.

한 사기꾼이 수녀들이 운영하는 시설에서 얼굴이 털로 뒤덮인 아름다운 여인을 발견한다. 그는 즉시 특별한 사업 아이템을 구상하는데, 바로 ‘원숭이 여인’이 출연하는 공연을 펼치는 것이다. 그렇게 여러 마을을 돌아다니기 시작한 두 사람은 기대보다 더 큰 인기를 누리며 갖가지 사건들과 마주한다. (2017년 한국시네마테크협의회 - 2017 베니스 인 서울)

지난 60여년 동안 연출했던 작품을 통해 그녀의 영화 속에서 살아 숨쉬는 모든 것들과 함께 웃으며 행복해했던 관객들에게 사랑과 기쁨을 전한다!