A young male model-cum-hustler juggling “relationships” with three women while looking for the big score, a rich girl who will keep him afloat for life. But no relationship is developed, no background examined, no motivation explained. He just bounces from woman to woman like a pinball and ends up marrying an emotionally stunted girl who plays with dolls.
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Nina, a successful but world-weary art dealer, is surprised to find that her usual masseur, Douglas, has sent a substitute – Fitch – to provide her with her regular weekly massage at her home. Nina and Fitch find that they are both mutually attracted, and annoy one another a great deal. Their differences of temperament and lifestyle create friction, and they find their similarities nearly as grating. Through flashbacks we learn how Nina and Fitch have arrived at this meeting, and see that perhaps they have enough common ground to learn some important lessons from each other.
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Punk’s not dead is a remarkable black-comedy by Vladimir Blazevski. It is about a reunion of old punk band. Mirsa is a punk who is trying to put up with the struggles of everyday life in Skopje. One day he was offered to play for some multicultural-happening in Debar. Actually, all he ever wants is to play again with his punk band, so he accepts the offer. The next step is to find all former members of the band and make them play again… His ex-girlfriend is coming back to him and she is helping him to find the former members of the band. Punk’s not dead gives good message – we should keep on trying to make our dreams come true.
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Bjarne and Malin live on the banks of the Ljungan. Bjarne’s father-in-law Halvar lives on the other side of the river. They have never seen eye to eye. The now 20-year-long conflict is based on class antagonisms, past words and inheritance issues regarding a firm of haulage contractors, for instance. One unlucky day, Malin crosses the river to persuade Halvar to guarantee a loan Bjarne wants to take out…
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Gili is a teenager who decides to change schools. She is determined to improve her lame social status. Over the course of a few weeks she hooks up with several different boys, all from her new school. Their encounters get more and more sexual, each time exploring their limits a little further. The boys are eager to take what is so generously offered, and Gili is thrilled with the attention. Just as Gili is trapped in the zone where it’s not certain if she is giving her consent to what is happening or not, the viewer too feels trapped in the same zone, feeling for certain that something terrible is happening, but unable to pin point exactly when, and what…
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As a man returns home to see his dying father, the story of the alienation between father and son is told in flashback. Purposely letting his daughter’s lover get lynched, shooting the lynched man’s father when he threatens him with a gun, and the bullying tactics used by him as a Sheriff causes the son to leave. The son now plans to ruin his father and get his Sheriff’s badge removed.
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Johnny has been left a hefty inheritance from his recently deceased uncle – an infamous ladies’ man. But there is a unique stipulation standing in the way of its collection. The sexually inexperienced Johnny has seven days to bed the last seven women that his uncle had seduced. All of them are young, lusty and insatiable beauties who gladly obey the uncle’s dying request and show Johnny all there is to know about around-the-clock lovemaking and more! But as Johnny’s triumphs and pleasures mount from girls one through six, he discovers that his seventh and final conquest – the most luscious vixen of all – may be a little harder to achieve. Will Johnny fulfill his uncle’s wish and secure untold financial and sexual rewards beyond his wildest dreams? Or will his bedcount fall one short?
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An updating of the Faust legend, with a dash of Fritz Lang’s “Der Müde Tod”, to a 1950’s Paris recreated in vividly abstract expressionistic sets.
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Baal explores the cult of the genius, an anti-heroic figure who chooses to be a social outcast and live on the fringe of bourgeois morality.
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A provincial warlord who has seized power after success in battle is our titular ‘scoundrel’. His court lady is one of those fallen down from her days in the imperial court and he intimidates her to help him seduce another ex-court woman now married to a smaller lord. She is a great beauty and his lust for her consumes him. However, true love cannot be corrupted by power and lust. The resulting tragedy unfolds as the wheel of dharma turns.
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The sexual relationship between a successful woman and her brother, an introvert, hypochondriacal youth, who is also a pornophile.
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The film follows the story of three girls in contemporary Paris. One searches for her lost mother since she knows she’s adopted. The other has come out of a coma and needs to have a love relationship aside from his mysterious father. The third one is a crook who redeems herself through love. The action is commented by songs and dance routines.
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A Moroccan fisherman sets off on an epic journey towards Europe on his wind surfboard. But the pursuit of dreams does not come without sacrifice.
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In eighteenth-century France a girl (Suzanne Simonin) is forced against her will to take vows as a nun. Three mothers superior (Madame de Moni, Sister Sainte-Christine, and Madame de Chelles) treat her in radically different ways, ranging from maternal concern, to sadistic persecution, to lesbian desire. Suzanne’s virtue brings disaster to everyone in this faithful adaptation of a bitter attack on religious abuses by the Enlightenment philosopher Denis Diderot.
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With his marriage to Audrey almost at an end, Ben begins a torrid affair with Mercedes, a young French student in his writing class. The affair soon spins out of control, their emotions and Ben and Audrey’s family hanging in the balance.
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