A single mother and the man who has not been able to forget her since she was 23 years old. A woman who yearns to be a mother and a single father in her fifties who only thinks about her. A discouraged man who starts dating a driver who gives love advice on the radio. And a mature woman who comes from Miami looking for new experiences. A crazy and funny musical comedy where the characters will discover that it is never too late to be crazy again of love.
Piotr Czarny is a charming thirty-something lawyer. He is constantly chasing adrenaline, women and parties. His goal was to fill the list of mistresses with names for every letter of the alphabet. His plan is put in jeopardy when a colleague, Olga - the only woman he's completely honest with and doesn't sleep with - gives him an ultimatum.
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
The story is carried by Mady, student by day, locksmith by night. But Claire, the enigmatic young woman she is helping out one night, isn’t what she seems to be. This door isn’t that of her apartment. And the bag she wants to recover at all costs isn’t hers, but Yannick’s, a man whose questions Mady will have to answer to. Caught in a hellish race, Mady only has one night to prove her innocence in a bustling city. One night to save her own skin.
Once upon a time, Juan Pérez, the poorest of the poor, reaches fame in a fluke accident in what seemed to be an attempt of suicide, to protest against the government and his social condition. The Ministry of Economy, surrounded by the scandal in which he is blamed by Pérez's decision, decides to reward him changing his life giving him a little house, a car and a job. But when other poor people (Pérez's close friends) find out about his reversal of fortune, decide to imitate him faking suicide attempts in different buildings in Mexico City. The Ministry of Economy, terrified by the glance of having a plague of beggars, decides to declare poverty a crime and hence finish for once and for all with all the poor in the country. Pérez ends up behind bars. Three years later, Pérez is released and goes back to his previous social condition, but this time, aware of having one day as a rich man is better than a life as poor, he will do anything to get out of his misery... And he will manage to do so!
Öznur is a young and beautiful woman. She has had a platonic love since childhood to Kudret, who is her cousin. Kudret, however, is married to a woman named Nisa and is very happy. Jealous, Öznur uses terrible black magic to change this so that she and Kudret will be together. However, she is not prepared for the evil that this spell unleashes.
Ningrum has had to face negative views from local residents since childhood because her mother, Handini, was always accused of having sex with many men. The death of one of Handini's close friends further plunges her family into local gossip. Ningrum's life becomes increasingly uneasy when the man she secretly loves, named Jalu, is trapped as Handini's new sacrifice. Ningrum has to face various supernatural terrors. Finally, Ningrum got a clue and asked for help from a Kyai who gave him a powerful spear to destroy black magic on earth.
Kristin is the daughter of a prominent landowner in medieval Norway. She grows up in total harmony with the ideals of the time: strong family ties, social pride and devout Christianity. She accepts the fact that her father has arranged for her to marry the son of another landowner. Kristin's beauty and purity create violent emotions around her. There are envy and attempted rape, murder and revenge. She seeks refuge from the world in a convent, awaiting the time for her marriage. Here the passion of her life strikes, the knight Erlend Nikulaussonn. He, an accomplished seducer, also falls hopelessly in love. They have to cross not only convent walls to meet, but social boundaries as well. Their love cannot be kept secret, and suddenly the innocent Kristin is the centre of a scandal. Her fiance withdraws from their engagement, her father rages, and Erlend's former mistress tries to poison her. The affair grows into a political issue, and finally some of the country's most dignified leaders persuade Lavrans to give in. The lovers win each other, but it is in front of a charred altar in a burnt down church, and their happiness has a double edge. Written by The Norwegian Film Institute
一天晚上,埃米尔卡(Emilka)在一家俱乐部遇到了年纪稍大的马西克(Maciek)。他向由单身母亲抚养长大的埃米尔卡展示了一个充满欲望、激情、躁动不安和叛逆的全新世界。女孩和他一起搬进来,起初一切似乎都很完美,但渐渐地,埃米尔卡发现了她独立的身份,并开始与他分开。当她成为歌手的梦想成真时,Maciek感到受到威胁。一场有毒的爱情游戏开始了,充满了欲望和嫉妒 Emilka meets the slightly-older Maciek out at a club one night. He shows Emilka—who was brought up by a single mom—a whole new world filled with desire, passion, restlessness and rebellion. The girl moves in with him and at first everything seems just perfect, but gradually Emilka discovers her separate identity, and starts to grow apart from him. When her dream of becoming a singer comes true, Maciek feels threatened. A toxic love game begins, full of lust and jealousy.
Mexico is one of the world’s most dangerous countries for journalists. But courageous reporters continue to do their work regardless; without the press there would be no one revealing the extent to which crime and politics are intermingled. The judicial system hides behind claims of insufficient evidence to prosecute crimes, while journalists are the ones who provide such evidence. In State of Silence four journalists discuss their work. One of them investigates illegal logging and environmental pollution, while another writes about police violence against migrants attempting to cross the border. The risks are great, and threats are commonplace. Almost 200 reporters have disappeared or been murdered since 2000. A law was passed under President López Obrador enabling journalists and human rights activists to seek refuge in the US—but doesn’t leaving everything that you love behind you, mean the criminals have won? Some of the journalists return to Mexico because their work is too important. “When a journalist is murdered,” says one of them, “society’s right to be informed dies, too.”
The unexpected death of the family patriarch throws every member of the Ullmann clan off course. Widow Dafna takes to bed for three months and when she finally returns to her job at the maternity hospital, she has little time for her children. Eldest son, Yair drops out of school and adopts a fatalist attitude, shutting out his siblings and girlfriend. His twin sister Maya, a talented musician, feels the most guilt and is forced to act as a family caregiver at the expense of career opportunities. Bullied at school, younger son Ido responds by obsessively filming himself with a video camera and attempting dangerous feats. The baby sister, Bar, is woefully neglected. Preoccupied with their own misery, the family is barely a family anymore. When another tragedy strikes, will they be able to support one another? Written by Sujit R. Varma