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Talented and cutthroat hairstylists at a competition find one of their own murdered before judging can begin. Winding through neon-lit halls, competitors unspool long-simmering resentments and lies as they search for the killer among them.
A woman is courted by a giant snake. The baby born from their love has hair made of small snakes. Local villagers disdain the mother and her daughter. The daughter grows and becomes a beautiful woman. Will she ever be happy and find the true love?
Nada is a young woman leading a double life. During the daytime she’s quiet and reserved, but after dark she dives into the nightlife of Tunis and picks up men. First, she lets them tell their stories – as she doesn’t speak, she acts as a kind of confidante – then beats the hell out of them. When a new colleague, Noura, arrives at her workplace and Nada finds a mythical knife at the home of one of her victims, events are unleashed over which Nada has less and less control.
The beast is back and her venom is deadlier than ever. When newcomer Lola is welcomed into Medusa's circle, she endures a ritual to bring her closer to her new sisters.
Story about a group of eccentric Dadaist artists in a small Serbian town in the 1920s.
The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans.
This short tells the story of the ghost of a woman wandering in a wreck at the bottom of the ocean and how she freed herself.
We are the models. We hold the pose to be depicted, for our bodies to originate images and works of art. Naked, we outstandingly catch the eye. We freeze to be observed for a long time and to be meticulously examined. And yet, we always vanish.
In Greece, a stewardess is murdered by a masked maniac. Suspicion falls on a drunken American playboy and a murderous gangster.
Justin leads a rather solitary, hyper-connected city life. One day he feels a gaze on the back of his neck while he is alone at home. Soon, this presence becomes oppressive.
When teacher Nora comes home after being held the day before, the Medusa protocol app shows her in three videos what happened in her absence between her beloved husband and who impersonated her.
It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?
A woman falls in love with a marble statue.
In the indefinite future, artificial intelligence - in the form of mirrors and screens - fulfills the role of parents. The protagonist is a little girl to whom her mother-tablet tells the story of Colombre, a mythological immortal jellyfish. Aquatic, cellular, microscopic and underwater scenes comment on the adventure of the grown girl, determined to transfer her consciousness to the Colombre and thus guarantee the survival of the human race in a world now completely submerged by water.
A dedicated mythology professor finds an evil witch doctor who summons the spirit of the gorgon Medusa.
After a friend kills himself, a young woman tries to infiltrate the psycho sect of which he was a member.
An unexpected look at the ancient Greek myth of Perseus. The musical and dramatic performance is staged both traditionally and innovatively. There are personalities and a choir here, which is the voice of the people. The live orchestra accompanying the entire performance gives an extraordinary expressiveness to the stage action. At the same time, the "rehearsal game" gives you the opportunity to feel additional emotional and semantic layers.
The Italian coastal town of Rosignano is known and loved for its extremely white beaches and intensely blue sea. From far and wide, camera crews and tourists come to enjoy its beauty. But these extraordinary features are the result of decades of pollution by a plant belonging to the Solvay company, which produces soda ash, or sodium carbonate.
In this made for Showtime television spoof of Madonna's "Truth or Dare" documentary, comedienne Julie Brown portrays Medusa, an egocentric, hyper-sexual (and not particularly talented) pop star on an international five-day world tour, "The Blonde Leading the Blonde" show. Brown painstakingly duplicates costumes, sets and hairstyles while spoofing Madonna's seeming self-obsession. Madonna visits the cemetery where her mother is buried; Medusa visits the pet cemetery where her dog Buster is laid to rest. (Or is it "Boomer"?) Madonna performs fellatio on a bottle, at the dare of a friend; Medusa does it on a watermelon. And so on...