Henning Carlsen

신문사 비평가인 ‘엘 사비오’(에밀리오 에체바리아)는 어린 시절 자신의 어머니를 사모했고 어머니가 세상을 떠난 후에는 단 한번도 다른 여인들을 마음에 품지 못했다. 오직 밤의 여인들만이 줄 수 있는 자유와 너그러움을 즐기며 평생을 진실된 사랑의 감정을 알지 못한 채 그곳(사창가)의 여인들과 함께 사랑없는 밤을 보내왔다. 90살 생일을 하루 앞둔 아침, 살아있는 뜨거운 몸으로 침대에서 눈을 뜬 사비오는 자신에게 ‘풋풋한 처녀와의 꿈같은 사랑의 밤’을 선물하기로 결정하고, 단골 마담(제랄딘 채플린)으로부터 앳된 소녀(파올라 메디나)를 소개 받는다. 사비오는 90살 생일 밤에 만난 그녀 때문에 난생 처음으로 느끼는 오묘한 감정에 휩싸이고 만다. 사랑, 증오, 질투, 괴로움, 좌절이라는 감정이 그의 안에서 열병처럼 번져 버리게 된 것이다. 그리고 사랑이 깊어질수록 자신의 늙음과 목전의 죽음이 더욱 선명하게 다가와 괴롭기만 하다.

신문사 비평가인 ‘엘 사비오’(에밀리오 에체바리아)는 어린 시절 자신의 어머니를 사모했고 어머니가 세상을 떠난 후에는 단 한번도 다른 여인들을 마음에 품지 못했다. 오직 밤의 여인들만이 줄 수 있는 자유와 너그러움을 즐기며 평생을 진실된 사랑의 감정을 알지 못한 채 그곳(사창가)의 여인들과 함께 사랑없는 밤을 보내왔다. 90살 생일을 하루 앞둔 아침, 살아있는 뜨거운 몸으로 침대에서 눈을 뜬 사비오는 자신에게 ‘풋풋한 처녀와의 꿈같은 사랑의 밤’을 선물하기로 결정하고, 단골 마담(제랄딘 채플린)으로부터 앳된 소녀(파올라 메디나)를 소개 받는다. 사비오는 90살 생일 밤에 만난 그녀 때문에 난생 처음으로 느끼는 오묘한 감정에 휩싸이고 만다. 사랑, 증오, 질투, 괴로움, 좌절이라는 감정이 그의 안에서 열병처럼 번져 버리게 된 것이다. 그리고 사랑이 깊어질수록 자신의 늙음과 목전의 죽음이 더욱 선명하게 다가와 괴롭기만 하다.

Krzysztof Komeda was a jazz pianist and film composer. With compositions like the lullaby for Rosemary's Baby (1968) by Roman Polanski, Komeda succeeded in writing his own chapter in the history of soundtracks. This documentary follows the life story of the composer by the means of his melodic sounds. It is a reflection on his soundtracks, which changed the common film scores forever. It is a contemporary document about the attitude to life in a time of social, political and cultural change after war, about work and exodus of Polish artists in the 50s and 60s. A story about how film music is created and how it affects people. Directors who worked with Komeda and who are also friends talk about him: Roman Polanski, Jerzy Skolimowski, Henning Carlsen and Andrzej Wajda. His wife, Zofia Komeda, and his sister, Irena Orlowska, recollect him.

What is the state of cinema and what being a filmmaker means? What are the measures taken to protect authors' copyright? What is their legal status in different countries? (Sequel to “Filmmakers vs. Tycoons.”)

How the cinema industry does not respect the author's work as it was conceived, how manipulates the motion pictures in order to make them easier to watch by an undemanding audience or even how mutilates them to adapt the original formats and runtimes to the restrictive frame of the television screen and the abusive requirements of advertising. (Followed by “Filmmakers in Action.”)

Tobias Jacobsen is 42. When the doctors tell him he is fatally ill, the earth opens up beneath him and he finds himself plunging into the abyss. It makes him think of the time he was 13 and his girlfriend got him to jump off the balcony of her father's house with a sun umbrella for a parachute. Two stories separated by 29 years are told in parallel, but gradually intertwine into one drama. Both stories have moments of joy and tragedy, as fates wondrously separate and are brought back together again. It is a story about making a leap of faith, trusting in yourself and realizing that, ultimately, life is no good without humour, even of the darker variety.

Tobias Jacobsen is 42. When the doctors tell him he is fatally ill, the earth opens up beneath him and he finds himself plunging into the abyss. It makes him think of the time he was 13 and his girlfriend got him to jump off the balcony of her father's house with a sun umbrella for a parachute. Two stories separated by 29 years are told in parallel, but gradually intertwine into one drama. Both stories have moments of joy and tragedy, as fates wondrously separate and are brought back together again. It is a story about making a leap of faith, trusting in yourself and realizing that, ultimately, life is no good without humour, even of the darker variety.

When Edvarda arrives at the little Norwegian village, to stay with some family, she find the Lt., Thomas Glahn, very interesting. Soon they fall in love. It's a very passionate relationship, but this leads to problems. Both of them are very strong in their opinions, and both are behaving a little strange. Love turns to hate, and instead of doing all they can to please each other, they do all they can to hurt the other person psychological. They both do a great job, and what began as a love story turns into a sad and depressing story of two ruined persons. The story is told by Thomas Glahn from his "exile" in Thailand, where he in the beginning of the movie receives two green feathers from Edvarda.

When Edvarda arrives at the little Norwegian village, to stay with some family, she find the Lt., Thomas Glahn, very interesting. Soon they fall in love. It's a very passionate relationship, but this leads to problems. Both of them are very strong in their opinions, and both are behaving a little strange. Love turns to hate, and instead of doing all they can to please each other, they do all they can to hurt the other person psychological. They both do a great job, and what began as a love story turns into a sad and depressing story of two ruined persons. The story is told by Thomas Glahn from his "exile" in Thailand, where he in the beginning of the movie receives two green feathers from Edvarda.

Chronicling a period of time in Paul Gauguin's life, this film follows him through his struggles in love and the financial problems caused by the inability to sell his artwork.

Chronicling a period of time in Paul Gauguin's life, this film follows him through his struggles in love and the financial problems caused by the inability to sell his artwork.

Chronicling a period of time in Paul Gauguin's life, this film follows him through his struggles in love and the financial problems caused by the inability to sell his artwork.

Gathered at a funeral for a successful business man, the testament is to be read. They will all inherit, with a big IF; if the family company is to be joint run by all the heirs.

The late 1930s. A young enemployed, unskilled worker walks through the streets of Copenhagen, sustaining himself partly on the dole and free soup-kitchen meals and partly on day-dreams. He spends time at a cemetry studying headstone inscriptions. Mild-mannered and of poetic bent, he understands little of an intellectual friend's advice and shies away from the love of a woman who shares her bed with him.

Svante has disappeared and a journalist seeks Benny to hear about his relationship with Svante. In retrospect be seen Benny and Svante with Svante lived with Mrs. Jensen in Copenhagen. When Benny and Svante last meeting would Benny sure to Svante show was released. Benny seek police to report Svante missed and have given a description of Svante. For several years, we follow Benny hunt for Svante including through interviews with Nina. Police seek out the places where Svante traded and the nerve clinic he was hospitalized.

After having been rescued from suicide, a young man is the object of a bet by his doctor that the doctor can help him recover his joy in life. Ironically, the doctor's life is not a very happy one either, and his boast has a hollow sound. For one thing, although he seemingly has a "happy divorce," in which he, his ex-wife and her new husband are all great pals, it's not true. He wants his wife back. All sorts of complications arise out of these lies and distortions.

After having been rescued from suicide, a young man is the object of a bet by his doctor that the doctor can help him recover his joy in life. Ironically, the doctor's life is not a very happy one either, and his boast has a hollow sound. For one thing, although he seemingly has a "happy divorce," in which he, his ex-wife and her new husband are all great pals, it's not true. He wants his wife back. All sorts of complications arise out of these lies and distortions.

This is a film about the stuff dreams are made of, yet, there is nothing elevated in this concept, on the contrary. The characters around the bar Strudsen (the ostrich) are doing what ostriches do, hiding themselves from the threats of life and keeping their dreams to themselves. Scriptwriter Benny Andersen being a poet is rendering a loving portrait of a number of persons, who fail to try to make their dreams come true, possibly not being sufficiently dissatisfied with their life after all. The manager would like a bar of his own but dare not admit to it, the butcher would like to be an opera singer, the window cleaner (sorry, window polisher) is secretly in love with the bar lady, but dare not show it and the pianist willingly listens to all the different dreams being presented to him. This film was the best accomplished movie from Henning Carlsen since his debut with 'Sult'.

This is a film about the stuff dreams are made of, yet, there is nothing elevated in this concept, on the contrary. The characters around the bar Strudsen (the ostrich) are doing what ostriches do, hiding themselves from the threats of life and keeping their dreams to themselves. Scriptwriter Benny Andersen being a poet is rendering a loving portrait of a number of persons, who fail to try to make their dreams come true, possibly not being sufficiently dissatisfied with their life after all. The manager would like a bar of his own but dare not admit to it, the butcher would like to be an opera singer, the window cleaner (sorry, window polisher) is secretly in love with the bar lady, but dare not show it and the pianist willingly listens to all the different dreams being presented to him. This film was the best accomplished movie from Henning Carlsen since his debut with 'Sult'.

This documentary examines a feature of Danish life in the late '60s and early '70s: the political commune. In a series of stiff and unrevealing interviews with members of the Kloevedal Commune, "Mao's Pleasure," director Carlssen seeks to discover why they have chosen to live communally. Turning the tables on the director, members of the commune also interview people who live ordinary, middle-class lives, ostensibly to find out why they chose their "lifestyles." Other footage concerns the Annisse Commune, a less radical organization which predates the Kloevedal Commune by decades. A highlight of the film is an interview with a very old woman who lives with and talks chiefly with her cats.

This documentary examines a feature of Danish life in the late '60s and early '70s: the political commune. In a series of stiff and unrevealing interviews with members of the Kloevedal Commune, "Mao's Pleasure," director Carlssen seeks to discover why they have chosen to live communally. Turning the tables on the director, members of the commune also interview people who live ordinary, middle-class lives, ostensibly to find out why they chose their "lifestyles." Other footage concerns the Annisse Commune, a less radical organization which predates the Kloevedal Commune by decades. A highlight of the film is an interview with a very old woman who lives with and talks chiefly with her cats.

A veteran sea captain abducts his niece for what he believes is his last chance at love. As the sad demon of the ocean Klabautermanden watches the passing of doomed ships, the niece awakens in her uncle's cabin. She makes him marry her but never allows the tyrannical captain to ever touch her. For eight years, the ship never docks as the malnourished crew wishes for death.

A veteran sea captain abducts his niece for what he believes is his last chance at love. As the sad demon of the ocean Klabautermanden watches the passing of doomed ships, the niece awakens in her uncle's cabin. She makes him marry her but never allows the tyrannical captain to ever touch her. For eight years, the ship never docks as the malnourished crew wishes for death.

A dancer and a Danish student meet on a train; she is going on tour to Rio, and he decides to follow her. Based on the novel by Jens August Schade.

A dancer and a Danish student meet on a train; she is going on tour to Rio, and he decides to follow her. Based on the novel by Jens August Schade.

A dancer and a Danish student meet on a train; she is going on tour to Rio, and he decides to follow her. Based on the novel by Jens August Schade.

A dancer and a Danish student meet on a train; she is going on tour to Rio, and he decides to follow her. Based on the novel by Jens August Schade.

In 1890, Pontus, the starving writer, wanders the streets of Christiania, in search of love and a chance to get his work published. All he meets is defeat and suffering while his sense of reality is withering. One moment he is delighted and the next he curses everybody. All the time he manages to maintain human dignity and pride.

In 1890, Pontus, the starving writer, wanders the streets of Christiania, in search of love and a chance to get his work published. All he meets is defeat and suffering while his sense of reality is withering. One moment he is delighted and the next he curses everybody. All the time he manages to maintain human dignity and pride.

In 1890, Pontus, the starving writer, wanders the streets of Christiania, in search of love and a chance to get his work published. All he meets is defeat and suffering while his sense of reality is withering. One moment he is delighted and the next he curses everybody. All the time he manages to maintain human dignity and pride.

In 1890, Pontus, the starving writer, wanders the streets of Christiania, in search of love and a chance to get his work published. All he meets is defeat and suffering while his sense of reality is withering. One moment he is delighted and the next he curses everybody. All the time he manages to maintain human dignity and pride.

A group of women are workmates at a laundry. Rike is spreading a rumor about the manager Marta, a rumor that Marta is a lesbian and that she once tried to seduce Rike. This leads to an explosive situation at the workplace.

A group of women are workmates at a laundry. Rike is spreading a rumor about the manager Marta, a rumor that Marta is a lesbian and that she once tried to seduce Rike. This leads to an explosive situation at the workplace.

The story begins when Toby (Ivan Jackson), a young English businessman, arrives in South Africa to take charge of a publishing firm. He knows little about apartheid and so at first sees no contradiction in developing a relationship with an elite, upper-class white woman and with a woman dedicated to fighting apartheid. But as Toby makes friends with one of the black South Africans (Zaku Mokae), and as he registers both the subtle and more obvious, deep-seated racial prejudices of the minority white population, some of the truth of the oppression here begins to dawn. That is brought to a head when tragedy strikes.

The story begins when Toby (Ivan Jackson), a young English businessman, arrives in South Africa to take charge of a publishing firm. He knows little about apartheid and so at first sees no contradiction in developing a relationship with an elite, upper-class white woman and with a woman dedicated to fighting apartheid. But as Toby makes friends with one of the black South Africans (Zaku Mokae), and as he registers both the subtle and more obvious, deep-seated racial prejudices of the minority white population, some of the truth of the oppression here begins to dawn. That is brought to a head when tragedy strikes.

The story begins when Toby (Ivan Jackson), a young English businessman, arrives in South Africa to take charge of a publishing firm. He knows little about apartheid and so at first sees no contradiction in developing a relationship with an elite, upper-class white woman and with a woman dedicated to fighting apartheid. But as Toby makes friends with one of the black South Africans (Zaku Mokae), and as he registers both the subtle and more obvious, deep-seated racial prejudices of the minority white population, some of the truth of the oppression here begins to dawn. That is brought to a head when tragedy strikes.

Henning Carlsen's cinéma vérité trilogy on life and relationships begins with a portrait of elderly people in Denmark.

The second part of Carlsen's documentary trilogy explores the structure and importance of the family unit as an institution, and the opinions of family members as individuals.

The third and final part of Carlsen's documentary trilogy explores what it means to be young or old.