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“Do you know what Dr. Johnson said? Guests, like the fish, start to stink on the third day.” “In fact, I think you'll find that I start to stink on the first day.” This exchange exemplifies the good and the bad about Barcelona; it’s full of acerbic Johnsonian sarcasm beautifully channeled by Chris Eigeman, but the third act feels more like the third day, with all that this implies. The film, about two young American cousins and their misadventures with the female fauna of the titular city, has another problem. The cousins, Fred and Ted, are skillfully and competently played by Eigeman and Taylor Nichols, respectively — Nichols's forced verbal tics only manage to make him seem like an ersatz Woody Allen (unusual for for writer/director Whit Stillman, who tends to evoke favorable comparisons to the legendary filmmaker), although he makes up for this with a scene described by Fred as “some weird religious ceremony based on Glenn Miller” — but the Barcelonans they get involved with are played by Australian, English, or American actresses; this is particularly jarring when it comes to the character played by Mira Sorvino, who is neither Spanish nor has the acting ability to pass for one. Applying the Italian neorealist approach, literally any randomly selected passerby on a Barcelona sidewalk would have done a better job; on the other hand, it’s possible that my complaint is irrelevant, especially considering that the females in the story are practically interchangeable. Even though he spends most of his time courting Marta (Sorvino), Fred ends up falling in love with Montserrat (Tushka Bergen); according to him, “I've seen her in all sorts of different situations and contexts” — situations and contexts that must have occurred in scenes written but not shot, or shot but ultimately cut (the script simply shrugs it off, mentioning towards the end that “We spend hours together on the phone, and she is so fascinating and charming”). Meanwhile, Ted ends up marrying Greta (Hellena Schmied), a late addition to the plot with whom Ted doesn't share much more quality time than Fred does with Montserrat. But perhaps this is precisely the point; as Ted says, “you see a beautiful girl and immediately you’re subject to all these emotions … you haven't even talked to the girl, and you already want to get married and spend the rest of your life with her”. He suffers from "a real 'romantic illusion' problem," and yearns, "instead of a fantasy built on the pretty slope of an eyebrow or the curve of an upper lip, to see the real person. Maybe even look into her eyes and see her soul." In that sense, the film is a true reflection of, as Roger Ebert put it in his review, "a vast yearning which can only be filled by a girl" that most of us experience before we reach the age of reason; sadly, Fred doesn’t seem to outgrow this juvenile yearning during the course of the film, and there is no indication that his relationship with Greta is less based on ciliary sloping and/or lip curvature than on the "real person."
It is the early 1930s and the command of the Japanese Imperial Navy determines to construct the world's biggest and most formidable battleship, Yamato. One of the admirals, Yamamoto Isoroku, disagrees. He recruits the upstart and mathematics' expert Tadashi Kai who discovers there are discrepancies between the official cost estimates and the actual figures. They soon find out that they have stumbled upon a conspiracy.
Kate Hardie plays a shy 19-year-old bookworm setting out on a world trip, only to be stranded at Málaga after her companion goes off with a local lothario. When her belongings are stolen, Ellie starts learning independence.
Chasing speed, dreams and money, a team of drivers get involved in the slush fund investigation of a powerful figure during the 1988 Seoul Olympics.
After many years of confrontation, the treasures of Spain and France are empty. In 1721, the regent of France draws up an ambitious plan to inaugurate an era of peace and prosperity that will heal the economies of both nations: his intention is to build a solid network of marriage alliances that will involve four children of very different ages who know nothing of betrayals and power games…
Stories of families who live in the Zanjan city in the 1980s. Family atmosphere of those years of war and its impact on their lives A family tradition in the 1980s they live in the city. Families who affected by the war between Iran and Iraq.
May, 1980. Man-seob is a taxi driver in Seoul who lives from hand to mouth, raising his young daughter alone. One day, he hears that there is a foreigner who will pay big money for a drive down to Gwangju city. Not knowing that he’s a German journalist with a hidden agenda, Man-seob takes the job.
In 1987 Korea, under an oppressive military regime, a college student gets killed during a police interrogation involving torture. Government of officials are quick to cover up the death and order the body to be cremated. A prosecutor who is supposed to sign the cremation release, raises questions about a 21-year-old kid dying of a heart attack, and he begins looking into the case for truth. Despite a systematic attempt to silence everyone involved in the case, the truth gets out, causing an eruption of public outrage.
Greek painter Domenikos Theotokopoulos (Mel Ferrer) woos a beauty (Rosanna Schiaffino) and faces the Inquisition in 16th-century Spain.
Six year old Azad (a Kurd from Iraq) was engaged to his cousin Vian but after that the two kids were separated due to the political situation. At 19, Azad accidentally witnessed the murder of Vian's father and had to leave the country. On board the ship to Europe he met a beautiful girl and fell in love with her without recognizing that she was his fiancée Vian. Vian, on her part, did not reveal herself to him because she thought he had been involved in the murder of her father and she tried to suppress her feelings towards Azad.
Barcelona, early twentieth century. While a trio of masked burglars and their minions search for an ancient Moorish treasure that can only be located when the two parts of an ornamental chain are connected, Inspector Hernández and his faithful assistant Carlos follow the dreadful crime path they walk by. (Only the German cut of the three original Spanish episodes has survived.)
