Six characters narrate their complex existence through his slides from one to another body, to form a network of shared memories and experiences. The need to explain this strange condition connects them via objects, messages and memories.
The Luck of the Irish (1948) Henry Koster, Tyrone Power, Anne Baxter, Cecil Kellaway, Fantasy, Comedy, Romance
Steven Fitzgerald, a newpaper reporter from New York, meets a leprechaun and a beautiful young woman while traveling in Ireland. When he returns to his fiance and her wealthy father’s political campaign in New York, he finds that the leprechaun and the young woman are now in New York as well. Steven is torn between the wealth he might enjoy in New York or returning to his roots in Ireland.
The Island of Dr. Moreau (1977) Don Taylor, Burt Lancaster, Michael York, Nigel Davenport, Adventure, Fantasy, Horror
Der Dibuk / The Dybbuk (1937) Michal Waszynski, Avrom Morewski, Ajzyk Samberg, Mojzesz Lipman, Drama, Fantasy
In a Polish shtetl, two young men who have grown up together betrothe their unborn children, ignoring the advice of a mysterious traveler not to pledge the lives of future generations. Soon after, one of them dies, and the wife of the other dies in childbirth. The children grow up in different towns, without ever knowing of the betrothal, but the power of the vow leads them to meet each other when they are marriageable. The young woman, Leah, is promised to another man, but Channon, the son of the father who died, is a practitioner of mysticism, and seeks to win his bride through sorcery.
Of Glocca Morra, Ireland, Finian McLongeran, who has his own unique belief system of Irish legends, uproots himself and his adult daughter, Sharon McLonergan, and heads for the mythical land of Rainbow Valley, Missitucky, USA where he believes he will become rich. One of those beliefs is that burying a crock of gold in Rainbow Valley will make it multiply, due to the power of rainbows and the Valley’s close proximity to Fort Knox. Finian considers that he “borrowed” the crock of gold he has from the leprechauns of Glocca Morra, which he plans to return once he makes his fortune. Little does he know that in taking the gold, the leprechauns can no longer make wishes come true and are slowly turning mortal. One of those leprechauns, Og, has come to retrieve the crock of gold to save himself and his fellow leprechauns. Finian and Sharon’s arrival in Rainbow Valley coincides with the return of the Valley’s prodigal son, Woody Mahoney, who has come to repay back taxes before his land is …
Michael Di Jiacomo made his directorial debut with this allegory that opens with a 12-minute black-and-white prologue about three French filmmakers who encounter the tuba-playing Tollkeeper (Mickey Rooney) on a silent stretch between two ghost towns in the Utah desert. In NYC, an armed thief (John Turturro) holds up despairing cabdriver Henry (Tim Roth), who tells him to go ahead and pull the trigger. With the thief gone, Henry’s next passengers are the three Frenchmen seen earlier, and he takes them into New England where he’s so spellbound by the beautiful Fatima (Mili Avital) that he takes a job with her irritating mother in order to maintain his pursuit of Fatima.
Fleur is the blue angel in one of Hong Kong’s “flower houses” – bordellos and night clubs of the 1930’s. A detached and beautiful performer, she falls in love with Twelfth Master Chan, heir to a chain of pharmacies. They agree to a suicide pact. Jump ahead 50 years to modern Hong Kong: Fleur’s ghost appears in Yuen’s newspaper office, wanting to place an ad to find Chan, who never arrived in the afterlife. Yuen, and his equally bewildered girl friend, An Chor, are captivated by Fleur and her story.
A man wakes up alone in a brightly illuminated white room with no windows or doors. When he presses a mysteriously phallic protuberance that appears on one wall, a pink toothbrush materializes from nowhere, clattering to the floor and setting in motion a genuinely bizarre chain of events. Soon the imprisoned man is engaged in absurd and hilarious attempts to escape the gleaming room, releasing random objects from the walls, creating a life sized mouse trap game in which a rope, a toilet plunger and an earthenware jug full of sushi might just be the keys to his escape. Meanwhile, in a dusty town, a green masked Mexican wrestler known as Escargot Man prepares for an important match. His family gathers around him, worried about his seeming impassivity before battle.
One woman (Murguía) lives waiting for his son (Alonso) who is a sailor. She hasn’t seen him for years although he writes to her a lot. The woman shares the letters and her grief with a co-worker and friend (Rojo). This last woman begins to idealize her friend’s son. One day, the mother gets sick and falls into a coma. Her son arrives but she is unconscious. He has a brief but passionate affair with her mother’s friend and then disappears, as quickly as he came back from the sea.
A group of scientists in search of lost Atlantis are plane wrecked on an uncharted island full of stock footage monsters fresh from One Million BC. Occasionally we get an original papier mache monster peaking out from behind an alcove, but for the most part this is typical Mexican filmmaking for the period.