Twilight Storytellers: Turncoats

Shirshendu Mukhopadhyay's famous tale of 3 generations of women & their changing position in society,seen in relation to a box of jewels, handed down from one generation to the next. A film by Aparna Sen.

Lacey is a girl of about ten. On a lazy day, she watches some TV, rides her bike in front of her house, then explores a field across from her front door. A shirtless man pets her dog. She goes up to him and he bends close to take a bug off her shoulder and hand it to her. Is this an innocent or a dangerous world? Is Lacey in trouble?

Columbus' 4th voyage has been a total failure: he has not found the westward passage, he has no gold to show, he has lost men and ships and his efforts to build a colony have fallen through. The monarchs of Spain are not going to restore the rights and privileges which were taken away from Columbus after the first voyage. And Columbus will be shamed. Many of his sailors who have survived, can't face the journey home. They will choose to remain on Hispaniola or neighbouring Puerto Rico.

After his father committed suicide, Richard decides to stay in a youth center rather than staying with his mother. There, he finds a bizarre bunch of teenagers. Each of them experienced pain from early on, having their own desires and fighting for happiness with peculiar humor and fantasy. Richard doesn’t want to get involved with any of this – if it weren’t for her: Kyra.

The folks who populate the rundown hotel in this story have all come there from someplace which offered a modicum of hope. Gloria, who runs the place, earns most of her money as a stripper. She lives there with her two daughters and a son with an untreated brain tumor. Charlie, who is forever in and out of jail, is Gloria's sometime lover. A recent check-in is there hoping she can work up the courage to commit suicide, since her rich doctor husband ran off and left her. Another resident is Tim, who keeps company with his dog and his booze in equal measure. A schoolteacher comes by from time to time, hoping to do these people some good, but in choosing this lot to work with, she proves to be just as much of a loser as the rest of them.

Marion, 14 years old, spends her holidays in Normandy. She meets a man. They see each other again in Paris. Marion makes love, for the first time, with him.

This adaptation of Geothe's The Sorrows of Young Werther offers a chilly and remote view of love and its passions. The setting is changed to Spain, and Werther (Eusebio Poncela) has taken a job tutoring the son of an estranged husband and wife. The boy's mother is a surgeon and therefore a rather uncommon woman for her society. She and Werther gradually become romantically involved, and his feelings for her begin to run much deeper than is apparent on the surface.

About the Swedish author Agnes Von Krusenstjerna during the period of her marriage to David Sprengel. In the hallucinatory opening sequence she is brought in a straitjacket by her husband and two psychiatric nurses through the Venice Carnival nocturnal antics to a mental hospital in the city. With her is a manuscript of her autobiography, which she calls "her child". The book is Agnes showdown with her family, and in flashbacks presented, Agnes progress from the author of innocent girls' books to serious and self-consuming novelist.

This poignant human drama is phrased as a "small sonata" in three movements -- a novel approach by director and writer Micheline Lactôt to tell the story of two teenage girls. In the first movement, Chantal (Pascale Bussieres) rides the same bus every day and slowly develops an infatuation with the bus driver. Their interactions are expressed through gestures and glances and facial expressions, but not words. Just as Chantal is getting old enough, and maybe courageous enough to actually say something to the driver, fate steps in and she loses her chance. In the second movement, Louisette (Marcia Pilote) hides out on a fishing boat and is discovered by a Bulgarian fisherman who treats her with kindness and consideration and they spend a special evening together -- without being able to speak a word in the other's language. In the third movement, Chantal and Louisette become friends, and as kindred spirits they share a sense of loss and hopelessness.

Biographical look at the bombastic love affair that writers Dashiell Hammett and Lillian Hellman shared in 1940 and 50's Hollywood. Refusing to marry, but deeply in love, the two engaged in many affairs and battled alcoholism.

Alejandra, a young middle class woman from Bogotá, in her daily routines, capturing both her moments alone and her interactions with the world. A subtle, contemplative and deeply intimate examination of the way one young woman navigates the daunting terrain of sex, desire and identity.

Alice is a promising young artist in Paris. Her boyfriend Franck, a boxer, has just moved in to her attic flat. Then her sister Elsa, a bored housewife, leaves her unfaithful husband Thomas and turns up unannounced to stay with Alice and Franck. Elsa disrupts their life by playing psychological games with them, but they cannot bring themselves to throw her out.

This dark and intense drama follows the slow and painful destruction of a young, passive woman as she watches her family fall apart. Maria is the shy and dutiful daughter upon whose shoulders the family traumas have fallen. In addition to a regular job she cooks, cleans, and studies. Her parents offer no assistance as her father is blind, with a tendency towards violence when drinking. His wife, the focus of his violence is terribly unhappy. After a particularly brutal beating, Maria's brothers rise up against the father and end up leaving the home. It is up to Maria to try to bring the factions together. Maria's pressures increase after she calmly stabs her boss during an attempted rape, and then copes with her mother's suicide.

A deaf man rebels against his controlling mother by dating a high-school drop-out who shares his disability.

In this wry comedy, the self-deceiving exploits of Lasse (Peter Hesse Overgaard), are shown, as he more or less innocently runs small cons on the people in his life, all the while sponging off of his girlfriend in a bohemian quarter of Copenhagen. He is a no-count, but fairly handsome young stud who imagines that he is some sort of art promoter, or is perhaps even a video artist himself.

In this melodrama about love in wartime, Angela (Ida-Lotta Backman) is a Finnish nurse in Lapland who begins a torrid affair with Thomas Schmidt (Mathieu Carriere), a wounded German army captain. Their love for each other is verboten in Finland, where the Germans occupy northern Lapland until the end of the war. Finland had formed a brief alliance with Germany to fight an invading Russia in the winter of 1939, but when the Russians won that battle and took more than 16,000 square miles of land away from Finland, it was too late to successfully rout the Germans from Finnish soil. So for the entire war, the Finns were fighting Germany on their own national territory -- which makes the love affair between a Finnish nurse and German soldier a very complex issue. While Angela receives different reactions from her friends, acquaintances, and relatives, she continues on with her love for the German, against odds which are greater as time goes by.

Having gone through many personal struggles, Eli (Lil Terselius) returns to her native village and begins to work on the farm of Ingeborg Eriksdotter (Anita Bjork), eventually tending a plot that once belonged to her family. But Eli has been gone a long time, and the opaque villagers see her as an outsider—she is suspicious from the start. The year is 1625, and stories of witches conjuring up evil are a part of the daily culture. Eli unwittingly makes matters worse for herself when she is able to cure the sick with herbs, and when she begins an affair with Aslak (Bjoern Skagestad) a farmhand—clearly she must have cast a spell on him. This all adds up to a witch hunt with a ready-made "witch." Eli, in the end, is officially accused of witchcraft by a devious bailiff, while Ingeborg makes every attempt to save her, and Aslak himself does not survive the stress—hardly a good omen for the outcome of the trial.

Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.

A widowed Latvian father's quest for a much-loved Dutch pen pal, whom he hasn't heard from in three decades, provides the basis of this comedy-drama. The father is accompanied by his traumatized and mute eight-year-old son whom he had to kidnap from a Riga hospital. Together, the two flee towards Holland where the father Yuris hopes to find his long-lost friend Marie, whom he remembers as a great beauty. During the long journey, father and son have several funny adventures, many of which occur because neither father nor son speak much Dutch. They finally arrive at Marie's door empty-handed. What they find, gives them little hope, for the lithe young idealist of Yuris' dreams has become middle-aged and cynical.

A writer dying of AIDS searches for a cure and human interaction in the hospitals and sex clubs of Buenos Aires.