사막의 춤 (2003)

1984년 중국의 산골마을. 마을 청년 한총(Han Chong)이 오소리를 잡기 위해 설치해 놓은 폭약을 갓 이주해 온 라홍(La Hong)이 잘못 밟아 사망하는 충격적인 사고가 발생한다. 마을 어르신들은 경찰에 신고 하지 않는 대신, 한총이 라홍의 청각장애인 아내 홍시아(Hong Xia)를 돌봐주도록 한다. 한총은 홍시아를 보살피면서 점차 그녀에게 이끌리기 시작하지만, 그들의 사이를 질투하는 과부 친화(Qin Hua)와 마을 사람들과의 갈등은 점점 커져간다. 그리고 홍시아의 어두운 과거가 밝혀지고, 영화는 예상치 못한 결말을 향해 달려간다.

A young woman's wedding becomes a ritual of mourning when her sister and family die in an auto accident on the way to the wedding. The sisters' mother refuses to accept her daughter's death, and in the midst of wedding guests and mourners, including the drivers of the truck that caused the accident, she orders the wedding to take place. But how can the daughter marry in the midst of a wake and without the family's traditional mirror, which the sister was bringing to the service?

In a small valley, riders pursue and kill a man. A horse thief, so his assassins claim. But for his ten year old son Issa, the disappearance of his father causes an avalanche of problems. With the family name stigmatized, Issa is bullied by the other children in the village. While his mother fights to clear her husbands name, Issa is left to his own devices. But unexpectedly, his solitude gives birth to his freedom, his real passion, horses.

한 여인이 보이지 않는 남자에게 끊임없이 사랑의 말을 보내는 이 영화는 "아가타와 끝없는 독서"의 연장으로 볼 수 있는 작품으로, 뒤라스 노년의 반려자였던 얀 안드레아의 존재와 더불어, 인물의 현존과 부재의 공존을 암전과 암흑으로 나타낸다. 눈 멂, 소멸, 그리고 어둠에 대한 지속적인 암시인 악명 높은 20분 간의 암전과 함께 간간이 푸른 화면도 등장한다.

A commentary on the destructive expectations of females in a male dominated society, Marilyn Times Five was made from an old stag film called "The Apple-Knockers, and the Coke"(1948) these sections of the film were set to Marilyn Monroe's song "I'm Through With Love". The film depicts a Marilyn Monroe look-a-like slowly taking her clothes off for the camera (the viewer). The woman's actions are looped several times which gives the audience a sensation of exhaustion. That exhaustion keeps building until the very end where the woman is shown crumpled on the floor in an awkward position, which makes it appear as if she is lifeless.

건설현장에서 덤프트럭을 운전하는 고조는 태연하게 강간을 저지르는데, 심지어 동료와 함께 사장의 딸을 윤간하기도 한다. 어느 날, 고조는 머리카락을 빨갛게 물들인 여자를 트럭에 태우는데, 이 여자는 고조에게 들러붙어 끊임없이 섹스 하기를 요구한다. 시간이 흐르자, 고조는 끝나지 않는 섹스에 지치고, 여자의 존재 자체가 그에게 고통이 되기에 이른다. 구마시로의 최고작으로 꼽히는 작품. 운명적으로 만난 두 남녀에게 섹스는 사랑의 몸짓이 아니라 자기파괴의 도구가 되어버린다. 여러 면에서 오시마 나기사의 <감각의 제국>(1976)을 떠올리게 하지만, 더욱 비관적이다. (2014년 영화의 전당 - 세계영화사의 위대한 유산 - 월드시네마 XI)

Short experimental film by Stephen Dwoskin.

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Filmmaker Michael Ventura follows Cassavetes around as the actor/director labors on his final film, Love Streams.

중국의 한 산골 마을, 세 자매의 일상이 시작한다. 낡은 집에서 부모 없이 살아가는 어린 소녀들은 가까운 친척 집에서 끼니를 때우며 노동으로 날을 보낸다. 기다리던 아버지가 돌아오지만 형편이 더 나아지지는 않는다. 소녀들의 지루하고 힘겨운 일상은 마치 한편의 극영화처럼 전개된다. 나이 어린 소녀들이 등장하지만 귀엽고 순박한 모습을 기대할 수 없다. 소녀들의 일상은 끼니를 해결하고, 다른 곳으로 보내지지 않기 위한 노동으로 채워진다. 소녀들을 돌보는 친척들이 털어놓는 가난한 생활의 고단함과 가난으로 인해 해체되어가는 가족의 모습이 가슴을 서늘하게 한다.

A widowed English heroine (Malù) recalls her life, from marriage to an affair with the gamekeeper.

A child is confronted with the (ever young) old age of the world, its hazards, its cinema and music, shot in seven days in Rome, Fiumicino, Ciampino and Cineccità. What will happen on July 12, 1995, in Rome ? What will become of July 12, 1995, in Rome ?

A mother's courage, hardship, and love, in times of war. In 1988, during the Iran-Iraq war, Gilane escorts her pregnant daughter, Maygol, from the relative calm of their village, Espili, into war-torn Tehran to search for Maygol's husband, Rahman. The journey is arduous and what they find when they reach the capital is dismaying and frightening. Fifteen years later, as another war begins in Iraq, Gillane is at home caring for her son Ismael, who suffers from epilepsy, a byproduct of war. As she cares for him, she hopes for a visit from the doctor and from another daughter, Atefah. "Better be a dog than a mother," she says.

Jay De Feo started painting THE WHITE ROSE in 1957. When the unfinished painting was removed eight years later it weighed over 2300 pounds.

A documentary about French naturism with some perspectives from Germany. The film includes discussion on the history of French naturism; distinctions between naturism and nudism; nudism in various historical, social, cultural and political contexts; and personal shares from many individuals. Naturists from a wide age range, young children to adults in their 80s, speak to how naturism supports self-acceptance, acceptance of others, deep meaninful relationships, wellness and vitality.

Naomi Kawase collaborates with Shinya Arimoto, a Taiyo award-winning photographer she knows from university, to create a photo album of Machiko Ono (who Kawase scouted for her previous feature film Moe no Suzaku) and Mika Mifune (daughter of famous actor Toshiro Mifune) with the idea to contrast these two aspiring actresses, Ono coming from the rural Nara and Mifune from Tokyo. Kawase documents the photo shooting and interviews Arimoto, Ono and Mifune as the work progresses, while the tension between her and Arimoto increases over disagreement on the direction of the project.

준은 22세로 부모로부터 물려받은 바를 경영한지 3개월이 되었다. 가게를 도와 주고 있는 것은 어렸을 적부터 친구인 케이코이다. 하지만 어머니는 그에게 "케이코와 함께 하는 것은 너에게 좋지 않은 일"이라고 말한다. 아버지는 준에게 케이코가 강간 당해 귀가 먹었다고 이야기하자 준은 아버지를 죽인다. 돌아온 어머니는 자수하겠다는 준을 말리는데...

In his debut feature film, director Muhammad explores the inexorable dissolution of a family, ironically during the planning of a wedding, the kind of ritual that ought to bond family members together in shared joy. The film exposes the divisive dynamics of patriarchal oppression, and the terrible connections between familial and sociopolitical violence.

Private detective Alfredo Pereira is hired by eccentric couple Raden and Eve to find their missing sister, Adriana. Despite his limitations, Pereira soon finds the woman, but foreplay between characters complicates things.

A ladybird is being chased by a black-faced spider.