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Sometimes we can all use a little help in changing our behavior when we aren’t able to do so on our own, and hypnosis is one of the most commonly employed practices. But, in some cases, it can work so well that we may unintentionally end up overcompensating, prompting us to act out in ways that yield a whole new crop of issues to contend with. Such is the case with Vera (Asta Kamma August), who gives hypnosis a try to quit smoking, a behavior she regards as unhealthy and antisocial. However, Vera’s hypnotherapist (Karin de Frumerie) suspects that her patient’s reluctance in explaining her reasons for seeking out treatment suggests that she’s there for more than just kicking the habit. This hunch leads her to conduct a profoundly impactful hypnotherapy session that produces a radical, albeit somewhat ill-defined, change in her subject’s behavior. And, even though Vera seems to relish the effects of this change, it couldn’t have come at a worse time: just as Vera and her business and romantic partner, André (Herbert Nordrum), are about to pitch their new commercial venture to a group of select international investors at an elite pitch fest, an event where they receive guidance from a high-profile pitch coach (David Fukamachi Regnfors). During preparation for their presentation, Vera begins acting strangely unpredictably, even disorderly, toward others, including those whom she and André are most trying to win over. So what’s going on here? And what, if anything, can André do to salvage matters before everything falls apart? Writer-director Ernst De Geer’s delightfully quirky debut feature takes a humorously absurdist look at questions of social conformity, particularly when it comes to differentiating behavior that’s gleefully playful from that which is wholly unacceptable, especially in earnestly serious “grown-up” situations. It accomplishes this goal through a captivating mix of hilariously dry wit and cringeworthy drama, one that often makes viewers squirm while questioning exactly what’s going on. In fact, at times, the mix can be perplexing enough that audiences may be uncomfortably puzzled by what’s transpiring on the screen and what the director is going for – that is, until the surfacing of the big reveal, the one that exposes the source behind the emergence of Vera’s erratic behavior, one that plants a rollicking punctuation mark on this often-uproarious offering. Much of the credit for this goes to the film’s fine script and its superb ensemble cast, particularly protagonists August and Nordrum, who play off each other well and create a wry sense of humorously driven dramatic tension. I love movies that make it a point to stick pins in sanctimonious balloons and push over sacred cows, and this one does as good a job at that as I’ve seen in a while. “The Hypnosis” may not be everyone’s cup of tea, but I’m only too happy to take more than a few good sips. Pass the milk and lemon, please.
A girl decides that she will only date married men, and she runs into a bachelor who tells women that he is married in order to avoid long-term commitments.
Anna and Edith are colleagues at an insurance company. Their male chef uses the women's business success to his own advances. Anna's husband would prefer her to be at home. Anna and Edith become a couple, but it doesn't end with a romantic rendez-vous. Together, and with the help of their female colleagues, they want to improve their work conditions.
Tom is a perfect macho, whose prejudices are challenged when he loses his job, his apartment and his girlfriend and has to move in into a house with three feminists. Without his knowing the three start an experiment to convert him into a sensitive person showing respect for women and her problems. Not able to pay his rent Tom is forced to earn it by doing the housework and babysitting. This helps him changing his attitudes towards women and his housemates who at first treated him indifferently, start to fall in love with him.
The charismatic Snaporaz encounters an alluring woman on a train and pursues her through a forest. He ends up at a hotel populated by women gathered for a feminist conference, where he is an unwanted presence. Snaporaz soon discovers he’s entered a phantasmagoric world where women have taken power.
Tough talk takes a soft turn as Nate, played by comedian Natalie Palamides, explores humor, heartbreak, sexuality and consent — with a live audience.
Directed by Solveig Hoogesteijn, Macu, the Policeman's Woman (1987) is a Venezuelan crime drama based on a true story. The film follows Macu, a young woman living in a Venezuelan shantytown, who becomes romantically involved with a local policeman named Ismael. As their relationship develops, Ismael's jealousy intensifies, leading to tragic consequences. The narrative delves into themes of power, control, and the dynamics of abusive relationships within marginalized communities. The film is notable for its exploration of gender roles and societal issues in Latin America.
The tiricia is an illness of the soul when the heart is saddened. A story of three generations afflicted with being tiricientas: Ita, Justa and Alicia – grandmother, mother and daughter – who have at different times suffered, tolerated and allowed abuse, dragging on the disease. Alicia decides to break the cycle, eradicating it for future generations.
Matthew, a college freshman, meets his dream girl in a dorm elevator during a blackout. He never sees her face, but instantly falls in love. In the morning, the power is restored, but the "dream girl" has vanished. All Matthew knows is that she lives in an all-girls dorm. He sets out on a semester-long journey to find his mystery girl among a hundred female suspects. Could it be Wendy? Dora? Arlene? Patty? Cynthia? Or the 95 other girls, any of whom could have been in that elevator with Matthew.
Four ordinary women, inflicted by silly societal norms, have to steal, lie, cheat and hide in order to lead the lives that they rightfully deserve.
