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a brazilian film
A warm summer day, bread and wine on the table, it's a portuguese house.
An insecure girl goes on a twisted journey to look for perfection – even if it means losing herself in the process.
A night of two medical students who perform a conspiratorial procedure to make dead bodies disappear.
"Blood seeps through lace bandages around her wrists while McQuilkin carefully and contemplatively applies a thick rim of greasy black eyeliner." - Ana Finel Honigman via Artnet
A girl spends her childhood in the 1990s in the Comarca Lagunera.
A follow-up to the groundbreaking Visual Communications documentary OMAI FA'ATASI: SAMOA MO SAMOA, this fictionalized account of Vaitafe Futu, a gifted Samoan youth who travels from Pago Pago to pursue an education in Los Angeles offers a wholistic portrait of a newer Asian Pacific American community.
The piece is a portrait of a narcissist. His boss and colleagues admire him and his ex-wife, mistress and girlfriend tell their view of him. The film consists of monologues performed in the form of tableau vivants that refer to art historical compositions. A possible crime story is built up by the testimonies of the people around the man.
A girl (Margarethe) walks through the park with her father and leaves a note for her loved one (Rüdolph) saying that she loves him too, but that he must settle things with her father. When asked, the father reacts by telling Rüdolph that he will give his daughter only to an officer. In the next indoor scene his daughter is sick, and Cupid comes along and whispers something in the father’s ear that makes him very happy. In the final scene of the fragment we see the father in a room, sleeping on a chair next to a baby when Cupid enters. The ending is missing. The setting and clothes are in the 18th-century French aristocratic style.– Elif Rongen-Kaynakçi
