Film The Wee

Young people talk in a a coffee shop; seven characters, seven chats, seven different points of view about love, sex and relationships. The point of departure is Gustavo's problem: he is in love with a girl but he's also interested in her sister...

Three directors prepare a film about the chemical factory in the Cologne district of Kalk, on whose former grounds a shopping mall has been built. With some self-mockery they talk about their investigation and search for sources, their capitulation to the resistance of the material. Meanwhile, an archivist struggles with a mis-spooled 16mm film. Historical images splutter across the monitor of his analogue editing table. The silhouette of the factory with its towering chimneys is discernible. Site plans are shown, chemicals are blithely mixed. In an album, the filmmakers discover faded photos of female forced labourers. Suddenly, questions arise: Which stories are kept, which forgotten? Throwing away is part of his job, after all, the archivist explains in the finest Rhenish accent. What does this statement mean for the directing trio?

Among the countless attractive couples who dot the streets of the big city, there circulates a young single woman spending her weekends alone.

Embark on a magical journey through a week at Wade Hampton High School in Greenville, South Carolina. Magic Man (Myles O'Brien) brings us along for a wild adventure through the school's Spirit week, raising money for charity.

The younger sister, who has been separated from her husband for many years, avoids the past and is far away from her hometown Cangshan. While doing household chores in Shanghai, she also takes care of her mother who is suffering from dementia and her rebellious son who has been in love for a long time. After experiencing the difficulties of living in a foreign land, she chose to return to her hometown Cangshan, only to find that her hometown had changed its name. A mother who avoids the present; An elderly person who has forgotten the past; A child who questions the future. A survival story of three grandparents and grandchildren in a foreign land, a difficult journey to pursue spiritual freedom.

About one of the most difficult weeks after the Civil War in a small Ural city in the spring of 1921, in which the situation was very serious. Famine is on the agenda; if seeds are not delivered to the general sowing, then not only the city, but the entire region will starve. To deliver them by rail, fuel is needed, which is also not available, and twelve miles from the city there is a forest where firewood can be prepared for the trains. In addition to all this, there is an unsolved counter-revolutionary conspiracy in the city...

On holiday by the sea in November, I'm struck by loneliness in an out-of-season Banyuls-sur-Mer. A very handsome actor friend arrives to rehearse the dialogue for his next film.

A series of six fifteen-minute shows, directed by Pantelis Voulgaris, in which the unforgettable actress Elli Lampeti reads excerpts from the Gospel of Matthew, as well as from the Hymns and Praises of Holy Week.In the fourth show, M. Thursday, Elli Lambeti reads excerpts about the Crucifixion of the Lord, excerpts from the Gospel of Matthew and Antiphon 4 from the Holy Passion Sequence. The simple direction focuses on the face and the evocative voice of the great actress, while in some parts of her speech she makes use of photographic and film material. The broadcasts were shown for the first time in April 1979 by the television of the then YENED.

It tells a story about a bar owner and an abused child joining forces to maintain possession of a money bag they pick up serendipitously. Madam Jung is a bar hostess and Eun Mi is her partner-in-crime, a child abused by her stepfather and used as a money-making tool by her mother.

Japanese horror televisivon movie from 1978.

A visit to the director's hometown is the opportunity to bring to an end a series of sensitive, long-postponed discussions targeting topics such as identity, the drag scene in Romania, sexual orientation and the social pressure imposed by all of this. Three days that fail to find a clear conclusion, an attempt at dialogue in which the family dynamic evolves from comic to tragic and tender.

For more than thirty years, the coffee shop has been the international model of tolerance and lenience in the Netherlands. Nobody is penalized here for using soft drugs. But the production nederwiet (Dutch skunk) is still prohibited. The result is an equally hilarious and worrisome cat-and-mouse game played by growers, coffee shop owners, organised crime, police and judges at the backdoor of coffee shops. Filmmakers Maaik Krijgsman and Hans Pool decide to start growing marijuana at home. Their ill-fated enterprise is entertaining to watch. But the stories of the hemp grower, the seller of growing equipment and the coffee shop owner they do business with are sobering. The stricter police policy forces up the price, which paradoxically only fuels the interest of heavy criminals. The idealist hippie era is over. Nederwiet shows all sides of the nederwiet business: from police raids of home growers and visits to large-scale nurseries to a musician who tries to end his weed addiction.

An elderly couple approach old age and death light-heartedly as they prepare for each other's departure from life. The husband scavenges to earn money for his dying wife's funeral, while she slowly realises that separation is imminent.