7.5
Gordon Liu stars as a Chinese martial arts student struggling to relate to his new Japanese wife. When a series of martial misunderstandings spirals into an international incident, he's forced to take on seven of Japan's most powerful martial arts masters, each an expert in a different discipline, ranging from karate to samurai to ninjitsu.
7.4
A young woman is held captive by her father and forced to become a prostitute. Meanwhile, two men embark on a personal quest for buried treasure. However, both groups of people show signs of debilitating illness.
7.4
An artist struggles to finish his work while a storyline about a cult plays in his head. As the cult spirals towards a fundamentalism that will destroy the world, the artist decides to destroy his muse to redeem the world.
7.4
Like IN THE MOOD FOR LOVE, THE HAND is set in the hazy Hong Kong of the 1960s, but its characters couldn’t be more different from the earlier film’s restrained, haunted lovers. Originally conceived for the omnibus film EROS, the film—presented in this retrospective for the first time in its extended cut—tells the tale of Zhang (Chang Chen), a shy tailor’s assistant enraptured by a mysterious client, Miss Hua (Gong Li). A hypnotic tale of obsession, repression, and class divisions, THE HAND finds Wong Kar Wai continuing to transition from the frenetic, energized style of his earlier films into a register that is lush with romantic grandeur.
7.2
In this warmhearted comic yarn from Aki Kaurismäki, fate throws the young African refugee Idrissa (Blondin Miguel) into the path of Marcel Marx (André Wilms), a kindly old bohemian who shines shoes for a living in the French harbor city Le Havre. With inborn optimism and the support of his tight-knit community, Marcel stands up to the officials doggedly pursuing the boy for deportation. A political fairy tale that exists somewhere between the reality of contemporary France and the classic French cinema of the past, LE HAVRE is a charming, deadpan delight and one of the Finnish director’s finest films.
7.4
In Kaurismäki's drolly existential crime drama, a coal miner named Taisto (Turo Pajala) attempts to leave behind a provincial life of inertia and economic despair, only to get into ever deeper trouble. Yet a minor-key romance with a hilariously dispassionate meter maid (Susanna Haavisto) might provide a light at the end of a very dark tunnel. Ariel, which boasts a terrific soundtrack of Finnish tango and Baltic pop music and lovely cinematography by Kaurismäki's longtime cameraman Timo Salmimen, put its director on the international map.
7.4
A delightful and moving coming-of-age story. One summer, three young boys take an increasing interest in an eccentric old man who lives alone in a house surrounded by an overgrown garden. The boys form a bond with the recluse and set about weeding and replanting the garden.
7.4
With MASCULIN FÉMININ (“Masculine Feminine”), ruthless stylist and iconoclast Jean-Luc Godard introduces the world to “the children of Marx and Coca-Cola,” through a gang of restless youths engaged in hopeless love affairs with music, revolution, and each other. French new wave icon Jean-Pierre Leaud stars as Paul, an idealistic would-be intellectual struggling to forge a relationship with the adorable pop star Madeleine (real-life yé-yé girl Chantal Goya). Through their tempestuous affair, Godard fashions a candid and wildly funny free-form examination of youth culture in throbbing 1960s Paris, mixing satire and tragedy as only Godard can.
7.2
When Rakel finds out she's six months pregnant after a one-night stand, her world changes. She is absolutely not ready to be a mother, but since abortion is no longer an option, adoption is the only answer. That's when Ninjababy, an animated character who makes Rakel's life a living hell, turns up.
7.3
From its epic conception to its film death, the fantasized and fictitious portrait of the film-maker Walerian Borowczyk : Boro-in-the-box discovers a cruel and obscene world, crosses commonplace and colorful adventures, from Poland to Paris, caressing erotic birds and organic cameras in a phantasmagorical alphabet primer.
7.3
A tale of revenge, honor and disgrace, centering on a poverty-stricken samurai who discovers the fate of his ronin son-in-law, setting in motion a tense showdown of vengeance against the house of a feudal lord.
7.3
An entire city has lost its voice. Mr. TV, the owner of the city's only television channel, is carrying out a sinister plan to control all of the city's inhabitants.
7.3
On planet Perdide, an attack of giant hornets leaves young Piel alone in a wrecked car with his dying father. A mayday message reaches their friend Jaffar, an adventurer travelling through space. Onboard Jaffar’s shuttle are the renegade Prince Matton, his fiancée, and Silbad, who knows Perdide well. Thus begins an incredible race across space to save Piel.
7.3
In early September, three young Parisians—Caroline (Caroline Cartier), her cousin Kareen (Françoise Guégan), and Joëlle (Danièle Croisy)—travel to the sparsely populated shorefront town of Orouët for a carefree holiday. At the house of Caroline’s mother, the trio soon take in Joëlle’s boss Gilbert (Bernard Ménez), and romantic complications inevitably ensue: ever the schlemiel, Gilbert suffers subtle humiliations at the women’s hands in order to remain close to Joëlle, his crush, while Joëlle develops feelings for Patrick (Patrick Verde), a handsome, sporty neighbor who in turn flirts with Kareen. Jacques Rozier constructs his love triangle (or, rather, square) without an ounce of melodrama, focusing as much on the vacation’s languorous atmosphere—and its giddy effect on the friends’ inside jokes and childish slapstick—as on the slow-burn plot. Perfectly capturing both the liberating promise and the melancholic effervescence of summer, NEAR OROUËT is a minor masterpiece of the post–New Wave era and a beautiful meditation on the fleeting nature of youth, love, and time.
7.1
After the death of a septuagenarian woman, her three children deliberate over what to do with her estate.
7.1
After losing his job and realizing that he is alone in the world, a businessman opts to voluntarily end his life. Lacking courage, he hires a contract killer to do the job. Then, while awaiting his demise, he meets a woman and promptly falls in love.
7.3
Two sailors Sindbad and Popeye decide to test themselves in order to prove their supremacy. Popeye is then presented with a series of daunting tasks by Sindbad.
7.1
James White is a troubled twentysomething trying to stay afloat in a frenzied New York City. As he retreats further into a hedonistic lifestyle, his mother's battle with a serious illness faces a series of setbacks that force him to assume more responsibility. With the pressure on him mounting, James must find new reserves of strength or risk imploding completely.
7.2
The world has been ravaged by nuclear war. The planet is frozen and radiation kills anyone or anything that ventures outside of 'The Dome'. Soft is a shepherd for the last remnants of humanity who have gathered together as they await rescue from a mysterious craft known only as 'The Ark.' He wanders among the masses, performing his regular daily tasks; keeping morale from plummeting, wooing prostitutes, squashing rebellions, and sometimes feeding the hungry. But as the true and sinister nature of 'The Dome' comes to light, Soft must ask himself if humanity is worth saving...
7.2
Suzan Pitt's animated short throws open the doors of perception onto a shape-shifting vision of polymorphous sexuality. A landmark in the history of independent animation, ASPARAGUS is a mesmerizing exploration of the artist's inner world, and a viewing experience like no other.
