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That life is a circus that one cannot escape from is the overriding theme of Ingmar Bergman's 1953 film Gycklarnas afton ("The Evening of the Clowns", but released in the English-speaking world under the titles "Sawdust and Tinsel" and "The Naked Night"). As the film opens, a circus is on its way to a provincial Swedish town in the early 20th century. In an introductory sequence, a coachman tells a story of an embarrassing episode for one of the clowns and his wife, which introduces the motif of humiliation that runs throughout the film. In the ensuing flashback scene, the characters' mouths move but we cannot hear what they are saying, a tribute to silent-era director Sergei Eisenstein. Only then do we get to the main plot: circus director Albert (Åke Grönberg) will use the opportunity of revisiting this town to see his wife and children, whom he abandoned three years before. His mistress Anne (Harriet Andersson) gets jealous and wants to leave the circus, so she lets a local actor (Hasse Ekman) seduce her. The climax of the film comes with the circus performance, where all the tensions boil over, but not quite in the way I expected. This is not a mature Bergman film. Anyone expecting the great depths of his later efforts, those powerful meditations on God and interpersonal relationships, will probably be disappointed by this fairly straightfoward melodrama. The symbolism is too heavyhanded and even with a mere 90-minute running time, the film seems too long for what it has to offer. I never expected to get from Bergman a long, drawn-out scene where a overstressed character sweats and swoons for what seems like forever... and then that same kind of scene is repeated again later. Nonetheless, there are some things to enjoy here. Anders Ek's performance is the most memorable here. His supporting role is as a clown with very distinctive physical gestures. It's a huge contrast to the severe priests he went on to play in two later Bergman films. One wonders if his funny way of moving his mouth inspired the buck-teethed drunks of Saturday Night Live's "Bill Brasky" skits. The music for the film was composed by Karl-Birger Blomdahl, who ultimately gained a reputation as Sweden's most controversial avant-garde composer, but here offering a score rather in the vein of Hindemith, full of references to popular dances that capture the riotous and vulgar fun of the circus performers and townspeople. It’s an interesting historical trivia that before Criterion released a DVD, the film was unavailable in the United States and known only for its original run in cinemas, where the American distributor sold it as a salacious smut film. I'm frankly baffled by this, and the 1950s must have been a very repressed era. While Harriet Andersson plays a sex kitten as times, and her entire role comes down to her looks, the eroticism is not that intense.
The romance between a film director and an ambitious actress who wants to shine on the screens no matter the price. Everything gets complicated after a night of drugs, alcohol and a mysterious disappearance.
In southern France, a Franco-Arabic shipyard worker along with his partner's daughter pursues his dream of opening a restaurant.
Two couple of friends, one very rich, the other almost homeless, decide to go on Holiday. Julie, a single mother, joins them too. Once at seaside, it starts a complicate love cross among them that will involve also a transsexual, a jealous brother, a Latin Lover and another nervous stressed couple. Not to mention about the daughter of one of them that is secretly in Chicago with one of her father's employees... At the end of the summer, all of them will join the same party...
Şerif Ağa wants to marry the girl, who works with her, to a rich man. Zeynep resists but when she hears that the young man he loves will be killed, she has to accept it.
When a young accountant is devastated after discovering his inspiringly beautiful girlfriend is cheating on him, his best friend, who's engaged to a girl he doesn't love, convinces him to go on a "run" and sleep with as many women as he can to get over his heart break.
After a yachting accident, a millionaire and his wife are shipwrecked on a desert island along with their former deckhand, Manuel.
Michael Morda, a young sculptor living in San Francisco, is madly in love with Elinor Hunter, and they plan to be married. When Elinor becomes jealous of Julie Stressman, an old friend of Michael's and one of his models, Michael reluctantly asks Julie not to visit him at his studio. They agree to meet only at the construction site where he is working on a sculpture for which Julie is modeling. When Elinor also shows up at the site, Julie leaves so as to avoid a confrontation, but she is killed by some falling materials. Julie's dying request is that Michael adopt her daughter Mitzi, whose father died years earlier. In order to prevent Mitzi from being taken to an orphanage, Michael lies and says he is her father. Elinor hears this, and without asking questions, leaves him and marries another man the same night.
Pepa resolves to kill herself with a batch of sleeping-pill-laced gazpacho after her lover leaves her. Fortunately, she is interrupted by a deliciously chaotic series of events.
An ambitious carnival man with a talent for manipulating people with a few well-chosen words hooks up with a female psychologist who is even more dangerous than he is.
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.