Wafer factory-owner P. Tinto and his wife Olivia want a their own child more than anything else in the world, but after years of trying, they have nothing but a pair of extraterrestrial midgets living in their spare bedroom. When they decide to try adoption, a series of misroutings and chance encounters results in an escaped adult mental patient arriving at their door with adoption papers in hand. P. Tinto and Olivia accept this without question and welcome him in as their son. Can this family arrangement work?
Tag: FHD
A lyrical and yet at the same time passionate ‘situation report’ on the living conditions of Hungarian Gypsies. With this, his first significant work, Sándor Sára, who went on to become one of the most influential figures in Hungarian film as both cinematographer and director, aimed not only to document but also to take a standpoint on this critical topic. The exposition of the film determines the context: newspaper articles and socio-photos reporting on the plight of the Roma, listing numbers and statistics, and in the follow-on Sára depicts the problem through motion pictures.
Paul and Paula have had bad experiences with love: Paul is financially well off but has lost all affection for his wife, and Paula leads a troublesome life raising two children on her own. They meet and discover a strong passion for each other. Life seems like a dream when they’re together – but their short flights from the burdens of reality are once and again interrupted by Paul’s ties to family and career.
Fake, follows three young men—Ber, Po, and Soong—roommates in Bangkok who are each at different stages of navigating love and relationships. Ber is consumed by the pain of a breakup, Po hides his vulnerability behind his womanizing ways, and Soong dreams of finding “the right one” without knowing what that really means. Their lives take an unexpected turn when all three become infatuated with the same woman, unaware of each other’s pursuit. As their stories overlap, the film paints a portrait of youthful longing, heartbreak, and the fragile line between friendship and rivalry.
A bored bisexual millionaire picks up a young destitute street artist and whisks her away to her villa in Saint Tropez. They meet a dashing local architect and both fall for him, setting in motion a ménage à trois of deception and betrayal.
Dario Argento meets the Marquis de Sade as sexploitation guru Norifumi Suzuki plunges us into a maelstrom of torture, secret masochistic desires and blasphemous rites. A young woman enters a convent to investigate the mysterious death of her mother. She soon discovers a smorgasbord of vice as she’s abused by lecherous archbishops, a lesbian mother superior and a line of fellow nuns ready to whip her (in the film’s most deliriously over-the-top scene) with rose-thorns.
Two eccentrics who have ended up in jail due to their inability to conform build a fantastical flying machine to flee their grey reality. At once a bizarre comedy with bite about two outsiders in some indeterminate place at some indeterminate time, a plea for the power of dream and a concealed critique of the system.
For generations, shepherds from villages high up in the mountains have been travelling with their vast sheep herds, moving them to distant pastures where they spend the long winter. Each of the villagers has a story to tell, intimated through flawless concision, while the film’s effortlessly fluid epic narrative is interwoven with lyrical passages, together creating a timeless cinematic poem about the primary values in life.