Sunday Lovers

Five short stories: The Master and the Twentieth Disciple; Every Week is Sunday; It's Boniface's Fault; The Raggedy Song; The Spider's Web.

Expecting the usual tedium that accompanies a summer in the Catskills with her family, 17-year-old Frances 'Baby' Houseman is surprised to find herself stepping into the shoes of a professional hoofer—and unexpectedly falling in love.

Giulia is an independent young woman who is prepared to offer her body and her spirit against all the religious taboos.

Jurácek's feature debut is shot in two parts. In the first, a corporal accompanies a new recruit with a sore Achilles tendon for his physical, and all the girls or young women they see are played by the same actress (Ruzickova). In the longer second segment, shot with the help of the Czechoslovakia army, the soldiers pass the time during basic training and maneuvers by talking about girls.

Lili, a pouty and voluptuous 14-year-old, is caravan camping with her family in Biarritz. She's self-aware and holds her own in a café conversation with a concert pianist she meets, but she has a wild streak and she's testing her powers over men, finding that she doesn't always control her moods or actions, and she's impatient with being a virgin. She sets off with her brother to a disco, latching onto an aging playboy who is himself hot and cold to her. She is ambivalent about losing her virginity that night, willing the next, and determined by the third.

A solid middle American couple meet a stranger who will have a big role in history as we know it.

It's 1992. Martin is 17 and he films his daily life with his Hi8 camera. He films anything and everything—his room, the world around him... But never his father, the thought doesn't occur to him. One day he meets Dominique. He's 23 and works as a student monitor at Martin's high school.

An unexpected love triangle, a seduction trap, and a random encounter are the three episodes, told in three movements to depict three female characters and trace the trajectories between their choices and regrets.

Three activists cobble together a kidnapping plot after they encounter a businessman in his home.

A man entranced by his dreams and imagination is lovestruck with a French woman and feels he can show her his world.

When an Italian man comes out of the closet, it affects both his life and his crazy family.

Crustacés et coquillages is a fresh French comedy film with numerous surprise turnarounds and about the tolerance of a family of four. The family spend an idealistic summer vacation together where each of the family members gets involved in a new or old relationship.

When Sven provokes a fight after an evening out in Amsterdam his best friend ends up in a coma, and nothing is the same as before.

Matt, a young glaciologist, soars across the vast, silent, icebound immensities of the South Pole as he recalls his love affair with Lisa. They meet at a mobbed rock concert in a vast music hall - London's Brixton Academy. They are in bed at night's end. Together, over a period of several months, they pursue a mutual sexual passion whose inevitable stages unfold in counterpoint to nine live-concert songs.

Samantha Vance inherits the Tiki Hotel when her father dies. She decides to fix it up but has problems drumming up business. Her friends throw a party at the hotel and an idea is born to make it the "Bikini Hotel" with all of the staff members wearing bikinis. This elicits jealousy in the nearby Regent Hotel who wish to turn Samantha's hotel into a parking lot. It all culminates in a competition where the winner gets to stay.

It's Ted the Bellhop's first night on the job...and the hotel's very unusual guests are about to place him in some outrageous predicaments. It seems that this evening's room service is serving up one unbelievable happening after another.

This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.

This new version of Nagasaki's Yami utsu shinzô (1982) is neither a remake nor a sequel. It is both those things, and at the same time it is also a documentary, a portrait of the consequences of passing time, and an occasionally very funny reflection on what the hell the point is of all this filmmaking business anyway. Shigeru Muroi and Takashi Naito, back then young hopefuls willing to take chances, now among the most established and recognisable actors in Japan, return to play the roles they assumed in the 1982 film, each of their characters having gone their own way. Alongside, another young couple (Honda and the ever-brilliant Eguchi) find themselves in the exact same situation as their older counterparts 25 years earlier. Their paths cross, an opportunity arises: for the elder two to redeem part of their own lives, for the younger couple to find a helping hand in their darkest hour.

Marie is fed up with always serving men as a fling. Now she wants to turn the tables and gets herself two male creatures: she regularly has wild sex with the muscular construction worker Frank, while pianist Alyosha is there for the romantic hours. But Marie develops more feelings for both of them over time, which is not her only problem, because the two lovers also happen to share the same apartment...

A psychiatrist becomes romantically involved with the sister of one of his patients, but the influence of her controlling gangster husband threatens to destroy them both.