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Marking a stylistically and philosophically turn away from the earlier features, The Sand Rose is Reis and Cordeiro’s most abstract, conceptual and literary work. The film’s collage structure gathers texts from multiple sources – including Kafka and Montaigne – and crafts a world of theatrical artifice far from the documentary inspired naturalism of Ana and Trás-os-Montes. Reis and Cordeiro’s least known film has lingered in obscurity and never recovered from the unfairly negative reviews that resulted in its severely limited release. Reis died less than two years later, just as he and Cordeiro were about to begin an ambitious adaptation of Juan Rulfo’s Pedro Parámo. - Harvard Film Archive
A story of siblings building a tree house together over the course of a year. We experience the beauty and brutality of the seasons, as we follow them through their struggles and moments of joy.
On the Tanua Island, the shaman announces the approach of the Nagol Ritual. Sowa, a young dreamy Melanesian, has to honor her father and the ancestral traditions. But she doesn’t feel ready to face the consequences of this challenge.
A short exploitation film in the style of a mock trailer. The nazis created them, but they couldn't control them.
The survival of three women living in the isolated, rugged interior of Spain in the early 1900s is threatened when a seed of division- planted long ago in the family- begins to take root.
Two lost souls visiting Tokyo - the young, neglected wife of a photographer and a washed-up movie star shooting a TV commercial - find an odd solace and pensive freedom to be real in each other's company, away from their lives in America.
The strange comedy film of two close brothers; one, Wilbur, who wants to kill himself, and the other, Harbour, who tries to prevent this. When their father dies leaving them his bookstore they meet a woman who makes their lives a bit better yet with a bit more trouble as well.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
Three generations of women survive the east wind, fire, insanity, superstition and even death by means of goodness, lies and boundless vitality.
