Nosotros y la música

Jeunes filles d'hier et d'aujourd'hui

The Beggar's Christmas

Charitable Childhood

The Buoy

The Shipwreck

Amore e ipnotismo

Romantic novelist George Sand's Mauprat as adapted by cinema visionary Jean Epstein. As a child, orphan Bernard de Mauprat was adopted by Tristan, a brigand who brought him up with his biological sons to hate, kill and pillage. Hubert de Mauprat, the elder brother of Tristan, the very incarnation of nobility, and his daughter, the beautiful and intrepid Edmée, undertake to tear wild-eyed Bernard away from his uncle. Still uncouth and rough, Bernard endeavors to wrest the love of Edmée away from her betrothed.

A Restless Night

El que la traga la paga

El foráneo

Foráneo: Puertas a lo desconocido

No one has time to talk to the crazy lady in the park, except for a sensible man who happened to be passing by.

Winter, 1843. A young woman is under investigation following the mysterious death of her family's matriarch. Her recollection of the events sheds new light on the ageless forces behind the tragedy.

A marriage proposal prompts Carolina to recall three previous relationships as she wanders through Manhattan.

Geboren 1999

Bogra

Two young black lesbians stroll through downtown São Paulo, between memories and the future. They walk side by side for the possible love, between two women.

Amélie, a 2-and-a-half-year-old Belgian girl, born in Japan, thinks she is God. From her wide awake and acerbic point of view, she believes she can make plants grow in the garden, or cross the sea by foot. She thinks she’s at the center of everything and she has only one goal: to convert the world to her cult. Unfortunately, almighty Amélie’s power seems limited to her nanny, Nishio-San. Between her family who treats her like any other child and a housekeeper who divinizes her, the choice is clear: Amélie will be Japanese. But her world will fall apart at the age of 3, when she learns that she will have to leave Japan eventually.

A strange film as beautifully jumbled as the political environment out of which it sprang, like a handsome weed, "Son of Mongolia" is a travelogue of unique and authentic richness, an amusing Far Eastern horse opera of picaresque character, and a scientifically valuable anthropological document in which the Soviet film industry may well take pride. Objective and modern, yet permeated with a fresh folk quality that goes back to the reckless and lovely Tartary of Genghis Khan, it rises above all its inescapable Soviet-isms into a new frontier region of plains, mountains, tents and herds, a world still appreciably beyond the range of Western cameras.

A troubled teen crosses paths with a charismatic, dangerous stranger and it becomes the worst decision in both of their lives.