Though much of this film is a straightforward lecture on dental hygiene delivered by a dentist facing the camera, it still manages to be persuasively Kiarostami-esque in its description of young Mohammad-Reza’s life at home and at school before he falls prey to tooth woes.
A family heads to an isolated hotel for the winter where a sinister presence influences the father into violence, while his psychic son sees horrific forebodings from both past and future.
A heavily disfigured man is displayed as a freak to create horror and astonishment. After being rescued by a Victorian surgeon, his monstrous façade slowly reveals a person of kindness, intelligence and sophistication.
Nelly, a restless middle-class girl abandons her bourgeois friends and a steady relationship for the unemployed, leather-clad layabout, Loulou.
Which part of French cinema’s heritage do you feel you have the most in common with?
The life of boxer Jake LaMotta, whose violence and temper that led him to the top in the ring destroyed his life outside of it.
“Two years have passed since my first trip to Berlin. This month of October shows me the picture of my loneliness. I can still hear the sound of my footsteps on the Landwehrkanal, their crunching, and then the silence, the silence of a city.
Grandmother Romia fights an unending legal battle with the Zionist authorities who confiscated her ancestral land soon after the Israeli occupation in 1947.
“‘Young people are only just beginning to read film – they know the grammar, [...] They come from a visual generation, and film is a visual medium. But pretty well everyone over the age of twenty-five, I guess, maybe twenty-eight, is rooted in the literary tradition.
Denise Rimbaud abandons her husband, her job and the city to go and live in the country. Paul Godard, a television producer, is afraid to leave the city, afraid of loneliness since Denise left. Isabelle has left her country home to come to the city as a prostitute.
Brussels Transit is Samy Szlingerbaum’s only full-length film. It tells the story of his parents’ arrival in Belgium in 1947. They were Polish Jews who had spent ten days travelling across Europe by train. Samy was born two years later.
“Through his lens, Angelopoulos looks at things in silence. It is the weight of this silence and the intensity of the immobile stare of Angelopoulos’ camera which makes O Megalexandros so powerful that the viewer cannot break away from the screen.