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Back in late 1963, a Belgian nun known only as Soeur Sourire, or Sister Smile, topped America's pop music charts with the relentlessly cheerful tune "Dominique," from an album of 12 songs that sold 1.5 million copies. From the little that is known of the ill-fated nun's life, Italy-based American writer-director Roger Deutsch has made the boldly speculative yet persuasive Italian-language film "Suor Sorriso" in which the nun (Ginevra Colonna) emerges as a tormented, unstable woman who abruptly left the convent after her recording triumph before taking her final vows. Running a shelter for wayward girls, she and another ex-nun (Simona Caparrini) enter a passionate, tumultuous and destructive affair. Colonna's volcanic Deckers craves spiritual redemption as well as the other woman's love but is so beset by demons that she embarks on a flamboyant, drug-fueled downward spiral that ultimately engulfs her lover as well as herself.
“Would I lie to you? All I do is dream of you!” “Don’t.”
Filmed in 1974 and edited and released in 1983 (and then rereleased by its director in 2005), DEAD PEOPLE purports to document the final years of Frank Butler, a local fixture in the depressed burg of Ellicot City with a particular fondness for drink and tales of the dead. Over hazy 16mm footage two decades later, Deutsch adopted a painfully unsentimental view of his early approach, colored as it was by notions of ethnographic film and an undercurrent of fetishism for a man he considered somehow more "alive" than himself. While it chafes against notions of authenticity in documentary and incisively hints at the complicity of the subject in inventing his own history, DEAD PEOPLE simultaneously oozes nostalgia, transcending its own judgment as a gauzy memorial for the man Deutsch once called a friend.
We all live on the same planet, under one sun which nurtures and renews our unique and common hopes for the future. No matter how much we differ from each other in color, ethnicity and belief, we all share the same source of life, united in our destinies. An omnibus film on the topic of Turkish - Armenian relations.
An American film director screening his new film in Budapest meets one of the subjects of that film. What begins as a simple chat over coffee turns into an alternately comic and suspenseful road trip.
Mario, a "developmentally disabled" man learns how to use a movie camera.
Hour by hour the ancient face of repeated / Beings changes, and hour by hour, / Thinking, we get older. / Everything passes, unknown, and the knower / Who remains knows he knows not. / But nothing, Aware or unaware, returns. / Equals, therefore, of what isn’t our equal, / Let us preserve, in the heat we remember, / The flame of the spent hour. Ricardo Reis (Fernando Pessoa)
Roger tells a story he kept secret for a long time.
After a young man is separated from his friends in the woods, he falls into a ten-foot deep pit of spikes, impaling him through his leg and leaving him trapped. He quickly learns that his fall was not an accident.
A down on his luck young man makes several attempts at committing suicide but fails them too. He then finds himself becoming more confident through a series of petty adventures, to such an extent that this becomes his undoing.