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An investigation into the motives of Spanish workers who migrated to Switzerland in the late 50s, early 60s turns into a sometimes caustic, sometimes melancholic rumination on the land they left behind. A work in between cultures and cinematic modes, a starting point, an opening statement - a clarion call.
Patricia (Mijanou Bardot) is a wealthy party girl who is bored with her jet-set lifestyle and friends. She gets in her car and drives off into the mountains in search of a new thrill. When two men wreck and burn her car, she joins them in their mountaineering life. She sleeps with one man, but jealousy ensues and she leaves for swinging London town with the other man. Eventually the men end up back in the mountains as the profoundly disturbed Patricia packs a loaded gun and goes after them both.
A woman uselessly insists on entertaining a man by telling him stories that don’t interest him as much as his works. A film about the impossibility of telling a story that, to this end, concentrates on the story of two people who have a relationship that is destined to fail.
An unprejudiced portrait of Spanish folklore and a crude analysis in black and white of its intimate relationship with atavism and superstition, with violence and pain, with blood and death; a story of terror, a journey to the most sinister and ancestral Spain; the one that lived far from the most visited tourist destinations, from the economic miracle and unstoppable progress, relentlessly promoted by the Franco regime during the sixties.
An absurd gathering of venerable congressmen convenes in a decadent hotel, immediately followed by a young couple’s intimate discussion about their desire to bring a child into the world. Interwoven with echoes of the Virgin Mary’s evangelical story, the film probes the moral and existential responsibility of procreation. Opposing this is an entrenched aristocratic order, symbolized by the deadly sins, which resists the aspirations and fresh ideas of youth.
Life in a rural area in Spain where the sole source of income is the physically gruelling labour of salt mining.
The geometry of circles and ellipses is explored using the Roman Colosseum as an example. Using the Pantheon as another practical example, this program explores the concepts of central and intercepted angles, arc segments and chords. The Etude du Cinéma de l’Ecole de Barcelona (a short-lived group that appeared in Spain in the 1960s) offers the opportunity to consider the distrust of the avant-gardes with regard to narrative. The lacunar narration whose principle the School of Barcelona adopts goes against the traditional narrative and its quest for coherence and continuity. She invites the viewer to make the disconcerting experience of unbinding and emptiness. Such an approach involves an ethical posture. The Barcelona School follows in the footsteps of a modernity that intends to move away from an alienating authoritarian discourse and claims to make the spectator a partner in creation.
A troubled young woman becomes obsessed with her mysterious new neighbor, who bears a striking resemblance to the girl's dead mother.
Carpenter Sergio runs away and hides in a closet after his boss fired him. When the closet arrives at its buyer's house, he decides to stay there, hiding in his new home living with an unknown family.
When strangers Jim, Eva, Emily and Mo meet William online in his new 'Chelsea Teens!' chatroom, they're completely seduced by his fast-talking, charismatic character. But beneath the surface lies a much darker truth. William is a dangerous loner, channeling all his energies into cyberspace. He's become an analyser, a calculating manipulator who finds it almost impossible to interact normally with others in the real world, instead turning his hand to manipulating people online.