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Though its aftertitles detailing the history of French nuke experiments suggest otherwise, writer/director Marion Hänsel’s Black Ocean is not a political treatise or a history lesson, instead taking advantage of the remote, isolated environments in which the experimentation took place – as well as the monumental imagery of the act itself – in order to communicate a more universal story about the power of awe. Ocean principally follows three young sailors on a French naval vessel in 1972, who are on course for an unknown destination in order to help carry out the bomb tests they’ve yet to personally witness. The film is essentially divided into two parts: before and after the blast.
On the one hand, there’s the desert eating away at the land. The endless dry season, the lack of water. On the other there’s the threat of war. The village well has run dry. The livestock is dying. Trusting their instinct, most of the villagers leave and head south. Rahne, the only literate one, decides to head east with his three children and Mouna, his wife. A few sheep, some goats, and Chamelle, a dromedary, are their only riches. A tale of exodus, quest, hope and fatality.
A Greek-Irish sailor becomes friends with a 10-year-old sampan girl while his freighter is docked in Hong Kong.
Homer and Joé trace the rivers of Croatia aboard a small boat. In spite of being fifty years old each one, none of them knew of the existence of the other until the recent death of the father of both. Now, however, they are half brothers. During the voyage, they meet Sean, an enigmatic Irish adventurer who will join them on the journey.
Marion Hänsel directed this personal meditation on the joys and responsibilities of parenthood, in which a narrator reads Hansel's philosophic musings on raising her young son on her own, while carefully shot and selected footage of different cloud formations from around the world provide a striking visual backdrop. Catherine Deneuve read Hänsel's text in the original French-language version of Nuages; Charlotte Rampling did the honors for the English-language print, while Barbara Auer, Carmen Maura, and Antje De Boeck respectively lent their voices to the German, Spanish, and Dutch editions of the film.
This is the first film by Hänsel based entirely on her own script and gives a wise and loving significance to the concept of personal and anecdotal. With beautiful leading roles by Canto as mother and Gourmet as her ex. Together, they drive to a ski resort to fetch their son, a ski instructor with a broken leg.
A renowned conductor suddenly pulls out of an evening rehearsal of Madame Butterfly. The opera director senses something is going on and forces the musician to explain himself.
A South African spinster murders her father after he rapes the wife of the black foreman for his plantation.
This thriller investigates the mysterious assassination of a gay pastor in rural South Africa. Without witnesses or explanations, the crime appears to the police and others as a jigsaw puzzle without enough pieces. The police then suspect and arrest people based on the usual prejudices, black and coloured people who plant marijuana in this case. Meanwhile, the true assassin not only goes his way unpunished from the very beginning, but becomes one of the rural town's most respected citizens. The sheriff at one point does begin having certain suspicions, and from there on the bulk of the plot is played out. The location is a very arid part of South Africa, so with so much desert rock, there are bound to be quarries. Some may reveal important secrets.
Ludovic is the son of Nicole, a single mother who married Micho, a man older than her. He agreed to adopt her son. Ludo is the scapegoat of Tatave, first son of Micho and the favoured victim of his teacher. Communication between Ludo and his mother is non-existent. While her own health is deteriorating, she eventually entrusts him to an asylum.