Filme/Sinopse

SOLARIS (Andrei Tarkovsky, 1972)

Psychologist Kris Kelvin is being sent on an interstellar journey to evaluate whether a decades-old space station, positioned over the oceanic planet Solaris, should continue to study it. He spends his last day on Earth with his elderly father and retired pilot Burton. Years earlier Burton had been part of an exploratory team at Solaris but was recalled when he described strange happenings, including seeing a four-meter-tall child on the surface of the water on the planet. These were dismissed as hallucinations by a panel of scientists and military, but now that the remaining crew members are making similarly strange reports, Kris' skills are needed. Upon his arrival at Solaris Station,[11][12] a scientific research station, none of the three remaining scientists greet Kelvin, and he finds the space station in strange disarray. He soon learns that his friend among the scientists, Dr. Gibarian, has killed himself. The two surviving crewmen—Snaut and Sartorius—are erratic. Kelvin also catches fleeting glimpses of others aboard the station who were not part of the original crew. He also finds that Gibarian left him a rambling, cryptic farewell video message, warning him about the strange things happening at the station. After a fitful sleep, Kelvin is shocked to find Hari, his wife who died ten years earlier, sitting in his sleeping quarters. She is unaware of how she got there. Terrified by her presence, Kelvin launches the replica of his wife into outer space. Snaut explains that the "visitors" or "guests" began appearing after the scientists conducted radiation experiments, directing X-rays at the swirling surface of the planet, in a desperate attempt to understand its nature. That evening, Hari reappears in Kelvin's quarters. This time he calmly accepts her and they fall asleep together in an embrace. Hari panics when Kelvin briefly leaves her alone in the room, and injures herself attempting to escape. But before Kelvin can give first aid, her injuries spontaneously heal before his eyes. Sartorius and Snaut explain to Kelvin that Solaris created Hari from his memories of her. The Hari present among them, though not human, thinks and feels as though she were. Sartorius theorizes that the visitors, also called "guests", are composed of "neutrino systems" rather than atoms, but that it might still be possible to destroy them through use of a device known as "the annihilator". Later, Snaut proposes beaming Kelvin's brainwave patterns at Solaris in hopes that it will understand them and stop the disturbing apparitions. In time, Hari becomes more human and independent and is able to exist away from Kelvin's presence without panic. She learns from Sartorius that the original Hari had committed suicide ten years earlier. Sartorius, Snaut, Kelvin and Hari gather together for a birthday party, which evolves into a philosophical argument, during which Sartorius reminds Hari that she is not real. Distressed, Hari kills herself again by drinking liquid oxygen, only to painfully resurrect after a few minutes. On the surface of Solaris, the ocean begins to swirl faster into a funnel. Kelvin falls ill and goes to sleep. He dreams of his mother as a young woman, washing away dirt or scabs from his arm. When he awakens, Hari is gone; Snaut reads her farewell note, in which she explains how she petitioned the two scientists to destroy her. Snaut then tells Kelvin that since they have broadcast Kelvin's brainwaves into Solaris, the visitors have stopped appearing and islands have started forming on the planet's surface. Kelvin debates whether to return to Earth or remain on the station. Kelvin appears to be at the family home seen at the beginning of the film. He sinks to his knees and embraces his father. The camera slowly cranes away to reveal that they are on an island in the Solaris ocean.

LANDSCAPE IN THE MIST (Theo Angelopoulos, 1988)

Pubescent Voula (Tania Palaiologou) and her five-year-old brother Alexandros (Michalis Zeke) want to see their father, whom they have never met before. Their mother tells them he lives in Germany and so Voula and Alexandros one day secretly leave their home to find him. They go to the Athens Railway Station and try to use the Germany Express, but are removed from the train for not having a ticket. A police officer takes them to a distant uncle, who convinces the officer that the children do not have a father in Germany. He informs him that their mother lied to them, to prevent them from knowing the truth: that they have different fathers and are simply the results of one-night stands. Although Voula and Alexandros eavesdrop on the conversation, they still believe their mother and believe the uncle is lying. When a blizzard suddenly hits the village and no more attention is paid to them, the children manage to escape. They continue their journey on foot and eventually meet a young man named Orestis (Stratos Tzortzoglou), who broke down with his bus. He offers to take them with him, and the children accept the offer. Orestis is the driver of a traveling theater troupe playing a piece about Greek history. Recently the troupe has been struggling with declining audience numbers, due to people searching for easier distraction. As the path of Orestis splits from theirs, the children leave the troupe and look for different means of transportation to Germany. They manage to find a truck driver (Vassilis Kolovos), willing to take them with him. Later, while Alexandros is asleep, the driver rapes Voula, and flees afterwards, shocked by his own actions. Alexandros and Voula soon reach another train station, where they again try to travel by train. When they spot the ticket inspector, they escape just in time before being caught. They bump into Orestis again, who takes them with him on his motorcycle. Meanwhile, Orestis' theater troupe breaks up and the members begin to sell their various requisites. Orestis takes Voula and Alexandros to an empty beach cafe and they walk the promenade with him. Suddenly, the children witness a huge marble hand held by a helicopter emerge from the sea. The index finger of the hand is broken off. Due to his impending military service, Orestis is forced to sell his motorcycle. He later meets the buyer again in a bar, and it is implied that he has sexual relations with him. Voula is disappointed in Orestis, having developed a crush in him herself, and the children leave again. Orestis later searches for them, and finds them on a deserted, newly constructed highway section. He takes Voula into his arms and starts consoling the crying girl: "The first time, it's always as if you're dying." They break up with Orestis again, this time for good. At another train station, a soldier gives Voula money to buy train tickets and the children again board a train for Germany. They exit shortly before the passport control at the border. Outside, they realize that the border is formed by a river, and use a small boat to cross it. Suddenly, shots are fired by border guards and a tree begins to emerge from the fog. As the fog begins to clear, Voula and Alexandros run for the tree and embrace it.

LES ENFANTS DU PARADIS (Marcel Carné, 1945)

Précis[edit] Children of Paradise is set in the theatrical world of Paris during the July Monarchy (1830-1848), centred on the area around the Funambules theatre, situated on the Boulevard du Temple - pejoratively referred to as the "Boulevard du Crime".[8] The film revolves around a beautiful and charismatic courtesan, Garance (Arletty). Four men - the mime Baptiste Deburau (Jean-Louis Barrault), the actor Frédérick Lemaître (Pierre Brasseur), the thief Pierre François Lacenaire (Marcel Herrand), and the aristocrat Édouard de Montray (Louis Salou) - are in love with Garance, and their intrigues drive the story forward. Garance is briefly intrigued/involved with them all, but leaves them when they attempt to force her to love on their terms, rather than her own. The mime Baptiste is the one who suffers the most in pursuit of the unattainable Garance. Story sources[edit] The four men courting Garance are all based on real French personalities of the 1820s and 1830s. Baptiste Deburau was a famous mime and Frédérick Lemaître was an acclaimed actor on the "Boulevard of Crime" depicted in the film. Pierre Lacenaire was an infamous French criminal, and the fictional character of the Comte Édouard de Montray was inspired by the Duc de Morny. The idea for making a movie based on these characters came from a chance meeting between Carné and Jean-Louis Barrault, in Nice, during which Barrault pitched the idea of making a movie based on Deburau and Lemaître. Carné, who at the time was hesitant about which movie to direct next, proposed this idea to his friend Jacques Prévert. Prévert was initially reluctant to write a movie about a mime, "Jacques hated pantomime" his brother once said,[9] but Barrault assured Prévert, that he and his teacher Étienne Decroux, who plays Baptiste's father in the film, would take responsibility for developing the mime sequences. According to Trauner Prévert then saw an opportunity to include the character of Lacenaire, the "dandy du crime", who fascinated him.[10] The Germans were then occupying the whole of France, and Prévert is rumoured to have said "They will not let me do a movie about Lacenaire, but I can put Lacenaire in a film about Deburau".[11] The script incorporates quotations from Lacenaire's autobiography. Plot summary[edit] Children of Paradise is divided into two parts, Boulevard du Crime ("Boulevard of Crime") and L'Homme Blanc ("The Man in White"). The first begins around 1827, the second about seven years later. The action takes place mainly in the neighbourhood of the Boulevard du Temple in Paris, nicknamed "Boulevard of Crime" because of all the melodramas and bloody scenarios offered to the largely plebeian public each evening. There are two principal theatres: the Théâtre des Funambules ("Theatre of Tightrope Walkers") specializes in pantomime, since the authorities do not allow it to use spoken dialogue, which is reserved for the "official" venue, the Grand Theatre. Part I: Boulevard of CrimeA young actor and womaniser, Frédérick Lemaître, dreams of becoming a star. He meets and flirts with Garance, a beautiful woman who earns her living by modestly exhibiting her physical charms in a carnival show. Garance staves off Frédérick's advances and goes to visit one of her acquaintances, Pierre-François Lacenaire, a rebel in revolt against society. Lacenaire is a proud, dangerous individual who works as a scrivener to cover his organized criminal enterprises. Shortly thereafter, Garance is accused of stealing a man's gold watch while she is watching a pantomime featuring Baptiste Deburau and a barker (Baptiste's father) in front of the Funambules Theatre. Lacenaire is in fact the guilty party. Baptiste, dressed up as the stock character Pierrot, saves her from the police by silently acting out the theft, which he has just witnessed. He reveals a great talent, a veritable vocation for pantomime, but falls immediately and irremediably in love with Garance, saving a flower she thanked him with. In the background, there is a price list for various seats, including Paradise, which is visible over the mime's shoulder. Baptiste's father is one of the stars at the Funambules. The daughter of the theatre director, Nathalie, who is a mime also, is deeply in love with Baptiste. Before the performance that evening, a used-clothes peddler named Jéricho reads in her palm that she will marry the man she loves, as he knew her father was worried about her mood affecting her performances. When a fight breaks out that evening between two rival clans of actors, Baptiste and Frédérick manage to calm the crowd down by improvising a mime act, thus saving the day's receipts. The most enthusiastic of the spectators are those seated in "paradise" (paradis), a term denoting in French theatrical language the top floor of the balcony, where the cheapest seats are located. Later that night, Baptiste catches sight of Garance with Lacenaire and his accomplices in a seedy restaurant/dancehall, "Le Rouge Gorge" (a pun: this means "The Robin" or "The Red Breast", but literally translates as "The Red Throat", a reference to the previous owner's throat having been slit). When he invites Garance to dance, he is thrown out of the restaurant by Avril, one of Lacenaire's thugs. He turns the situation around and leaves with Garance, for whom he finds a room at the same boarding house where he and Frédérick live. After declaring his love, Baptiste flees Garance's room when she says she doesn't feel the same way, despite her clear invitation to stay. When Frédérick hears Garance singing in her room, which is next to his, he quickly joins her. Baptiste becomes the star of the Funambules; fuelled by his passion, he writes several very popular pantomimes, performing with Garance and Frédérick, who have become lovers. Baptiste is tormented by their affair, while Nathalie, who is convinced that she and Baptiste are "made for each other", suffers from his lack of love for her. Garance is visited in her dressing room by the Count Édouard de Montray, a wealthy and cynical dandy who offers her his fortune if she will agree to become his mistress. Garance is repelled by him and mockingly rejects his proposition. The count nonetheless offers her his protection if the need were to arise. She is later unjustly suspected of complicity in an abortive robbery and murder attempt by Lacenaire and Avril. To avoid arrest she is forced to appeal to Count Édouard for protection. The first part of the film comes to an end with this development. Part II: The Man in WhiteSeveral years later, Frédérick became famous as the star of the Grand Theatre. A man about town and a spendthrift, he is covered with debts - which doesn't prevent him from devastating the mediocre play in which he currently has the main role by exposing it to ridicule in rehearsal and then playing it for laughs, rather than straight melodrama, on opening night. Despite achieving a smashing success, the play's three fussy authors are still outraged and challenge him to a duel. He accepts and when he returns to his dressing room, Frédérick is confronted by Lacenaire, who apparently intends to rob and kill him. However, the criminal is an amateur playwright and strikes up a friendship with the actor instead. He and Avril serve as Frédérick's seconds the next morning, when the actor arrives at the duel dead drunk. Baptiste is enjoying even greater success as a mime at the Funambules. When Frédérick goes to a performance the day after surviving the duel, he is surprised to find himself in the same box as Garance. His old flame has returned to Paris after having travelled throughout the world with the Count de Montray, who has kept her these several years. She has been attending the Funambules every night incognito to watch Baptiste perform. She knows she has always been genuinely in love with him. Frédérick suddenly finds himself jealous for the first time in his life. While the feeling is highly unpleasant, he remarks that his jealousy will help him as an actor. He will finally be able to play the role of Othello, having now experienced the emotions which motivate the character. Garance asks Frédérick to tell Baptiste of her presence, but Nathalie, now Baptiste's wife, is first informed by the spiteful rag-man Jéricho. She sends their small son to Garance's box to mortify her with their family's happiness. By the time Frédérick alerts Baptiste and he rushes to find her, the box is empty. When Garance returns to the Count's luxurious mansion, she finds Lacenaire waiting for her. Lacenaire satisfies himself that Garance has no love for him and, on his way out, encounters the Count, who is irritated to see such an individual in his home. Lacenaire reacts to the Count's challenge with threats, revealing the knife at his belt. Later, Garance declares to the Count that she will never love him since she is already in love with another man, but declares she will continue to try to please him, and offers to spread the word on the streets that she is "mad" about him, if he would like. Frédérick has finally achieved his dream of playing the role of Othello. The Count, who insists on attending the performance with Garance, is convinced that the actor is the man she loves. At a break in the play, the Count coolly mocks Frédérick, trying to provoke him into a duel. Elsewhere Baptiste, who is also in the audience, encounters Garance at last. When Lacenaire takes Frédérick's side in the verbal jousting, the Count attempts to humiliate him as well. Lacenaire takes revenge by calling him a cuckold and, dramatically pulling back a curtain, reveals Garance in Baptiste's embrace on the balcony. The two lovers slip away to spend the night together in Garance's former room at the Great Post House. The next morning, at a Turkish bath, Lacenaire assassinates the Count. He then calmly sits to wait for the police and meet his "destiny", which is to die on the scaffold. At the rooming house, Nathalie walks in on Baptiste and Garance. Garance is in a hurry to exit in order to prevent the duel between Frédérick and the Count, whom she is unaware has been murdered, but Nathalie blocks her way, insisting that leaving is easy, while to stay and share someone's everyday life, as she has for the past six years with Baptiste, is more powerful. Garance responds that she has lived with Baptiste for six years as well, that she felt him every day and night even though she was with another. Nathalie dismisses Garance's experience as unimportant and moves past her to Baptiste, allowing Garance to leave. Nathalie pleads with Baptiste for reassurance as he attempts to follow Garance. Baptiste pushes past her and is soon lost in the frantic Carnival crowd amid a sea of bobbing masks and unheeding, white Pierrots. The film ends as a desperate Baptiste is swept away with the crowd and Garance leaves in her carriage, her face impassive.[12] The crowd that brought Garance and Baptiste together in the opening scene pulls them apart.

THE CRANES ARE FLYING (Mikhail Kalatozov, 1957)

In Moscow, on June 22, 1941, Veronika and her boyfriend Boris watch cranes fly over the city as the sun rises and then sneak back into their families' apartments. Hours later, Boris's cousin Mark wakes him with news that the Germans have invaded. Veronika soon learns that Boris volunteered for the army. Boris asks his grandmother to give Veronika her birthday gift, a stuffed squirrel toy ("squirrel" is Boris's pet name for Veronika) into which he slides a love note. Veronika arrives too late to see Boris at his apartment, but his grandmother gives Veronika the stuffed squirrel. Veronika searches for Boris at the assembly station but misses finding him there too, as he marches off to war. Veronika remains in Moscow with her parents, who are killed in a German air raid that also destroys their apartment building. Boris's family invites the orphaned Veronika to stay with them. Boris's cousin Mark tells Veronika he loves her, but she faithfully waits for Boris. Veronika and Mark are alone in the apartment when another air raid occurs. Mark makes a pass at her, but she rebuffs him. Furious at being rejected, he rapes her. Veronika and Mark marry, but she despises him, and is in turn despised by the family who considers she betrayed Boris. At the front, Boris gets into an argument with another soldier, Volodya, who taunts him over a photo of Veronika. Their commanding officer catches them fighting and assigns them a dangerous reconnaissance mission. Boris saves Volodya's life, but Boris gets shot. In his final moments, he has a vision of the wedding that he and Veronika never had. To escape the German offensive, the family is relocated to Siberia. Veronika works as a nurse in a military hospital run by Boris's father, Fyodor. Mark and Veronika are miserable in their marriage. When a soldier in the hospital becomes hysterical after he received a letter saying his girlfriend left him for someone else, Veronika rushes to get Fyodor, who is processing the arrival of wounded troops. She barely misses seeing the injured Volodya, who is about to be admitted to the hospital, before Fyodor says that the hospital is full. Fyodor admonishes the distraught soldier to forget his unfaithful and unworthy girlfriend. Veronika overhears Fyodor's speech and becomes upset since she appears to be such a woman. Overwhelmed with guilt, Veronika tries to throw herself in front of a train. Just before she attempts suicide, she sees a young child about to be hit by a car and rescues him. The boy has been separated from his mother, and his name is Boris. Veronika takes the boy home and looks for her squirrel toy from Boris. Boris's sister Irina spitefully tells Veronika that Mark is giving the toy to his mistress at her birthday party. Veronika races over to the party, where a partygoer has finally found the note that Boris hid. Veronika grabs it, and in voice-over Boris narrates the final tender love note to her. Fyodor learns that Mark bribed his way out of being drafted into the Red Army. He realises Mark betrayed Russia and the family and has taken advantage of Veronika. Fyodor kicks Mark out, and Veronika is forgiven by the family for "betraying" Boris. The boy saved by Veronika becomes part of the family. Later, Volodya, having recovered, comes in search of Boris's family and tells them that Boris is dead. In 1945, the war has ended, and Veronika and Volodya stroll by the river back in Moscow. They are very close, but Veronika still refuses to believe that Boris is dead since Volodya was injured himself and never saw Boris die. When Boris's unit returns, Veronika carries a huge bouquet of flowers, intends to give them to him and hunts for him and his friend Stepan during a celebration at the train station. Veronika finds Stepan and finally learns that Boris is indeed dead. In tears, she stumbles through the celebrating crowd. As Stepan gives a rousing speech, asserting that those who died in the war will never be forgotten, Veronika goes from grieving to handing out her flowers to the returning soldiers and their families. When she looks up, cranes are flying again in the sky over Moscow. The film ends with the words: "But we shall not forget those left on the battlefield. Time will pass. Towns and villages will be rebuilt. Our wounds will heal. But our fierce hatred of war will never diminish. .... We have triumphed not to destroy. But to build a new life."

LOLA MONTÈS (Max Ophüls, 1955)

In New Orleans, a whip-wielding ringmaster announces to the crowd the "attraction of the century" and "the most interesting predator" of his circus: the former royal mistress Maria Dolorès Porriz y Montez, Countess von Landsfeld, known as Lola Montez. She is carried richly adorned into the circus ring to receive questions from the audience. Each question costs 25 cents, which are not intended as a payment for Lola Montez, as the ringmaster announces, since they will be donated by her to a correctional home for fallen women. The crowd shouts questions to Lola Montez about her waist size and her affairs, but the ringmaster answers them humorously. A parade of lovers begins, where the circus performers represent the number of Lola Montez' lovers. The question of whether the Countess von Landsfeld still remembers them leads Lola Montez to a first flashback of her affair with the composer Franz Liszt. The affair with Franz Liszt[edit] Franz Liszt and Lola Montez are on their way to Rome in a carriage, but the composer, who writes pieces for Lola Montez to which she dances in front of an audience, notices that their carriage is followed by another. He reckons to be a mere lover, since Lola Montez will go on board the other carriage as soon as she wants to leave him. Both of them spend the night in an inn and Liszt wants to prevent Lola from leaving. He tears up the just finished farewell waltz and secretly tries to leave the common room, but Lola Montez catches him and they spend one last night together. The next morning they part ways and Lola Montez reads up the torn notes, where Liszt says that she at least remains faithful to his music. Childhood and youth[edit] The ringmaster announces a change of scene and costume, as they will now deal with the childhood and youth of Lola Montez. A flashback shows the young Lola boarding a ship to Paris with her mother. While her mother shares a cabin with her lover, Lieutenant James, Lola Montez has to sleep in the dormitory with other girls. Once in Paris, her mother wants her to marry an old baron who was the family's banker. To avoid this fate, she escapes with Lieutenant James, who confesses his love to her, and they get married. At the beginning of the second act in the circus, the ringmaster claims that the marriage was happy, but a flashback shows that after five years Lola Montez is actually fleeing from her violent, constantly drunk and cheating husband. This is followed by the further life of Lola Montez, depicted in the ring by elaborate tableaux vivants and acted scenes. Lola Montez makes her debut as a dancer in Madrid, is kidnapped by a rich Russian, whose love she rejected, and is freed by the intervention of the French ambassador. During these performances, a doctor talks with the director of the circus, who is still disguised as a clown and counting the daily profits. The doctor warns him that Lola's heart is weak and that she should take care of herself. Lola tells now her story herself. She danced in Vienna at Tivoli [de] and was in love with the Kapellmeister. A short flashback shows how she found out on stage that he was married. She slapped the Kapellmeister while he was conducting the orchestra and then exposed him in front of his wife. At that time, the ringmaster visited her and offered her a contract with the circus, which she refused. In the circus, while the number of her lovers is read out, ranging from Richard Wagner to Frédéric Chopin, from Count von Lichtenfeld to the Grand Duke of Hesse, Lola Montez swings higher and higher on a trapeze until she stands on the top platform. This is when the flashback of her life in Bavaria begins. Lola Montez and Ludwig I of Bavaria[edit] Lola Montez meets a student hiking in the snowy mountains, who is offered a ride in her carriage if he shows her the way to Munich. Here Lola wants to make a career as a dancer, but she is not hired. Shortly before her departure, she begins an affair with Ferdinand von Freiberg, through whom she hopes to get in touch with King Ludwig I. She receives an audience with the king and complains about the lack of opportunities to perform. She clears any doubts about her body by tearing open her bodice in front of Ludwig I ("I have grown very well, do you want to see?"). The king arranges for her to appear as a dancer in the National Theatre, after which she wants to leave. He keeps her at court by commissioning a portrait of her, the completion of which he keeps delaying. She becomes his mistress, but also interferes more and more in politics. During the March Revolution of 1848, the citizens rebel against Lola Montez, who finally flees over the border to Austria at night with the help of the student she met on the way to Munich. She rejects the possibility of a simple life as the student's wife because something has broken in her and she can no longer love. Finale[edit] The ringmaster announces that Lola Montez had finally remembered his offer to work together and came to the circus. She has been performing here every day for four months, ending her show by jumping from the top platform onto a padded mat without a net. The doctor asks the ringmaster to keep the net this time, but the ringmaster fears to disappoint the audience and removes the net. The jump shot from Montez' point of view leaves the final outcome open, but at the end she is seen sitting in an animal cage. The male spectators queue in front of the cage to kiss Lola Montez' hand for a dollar. The ringmaster confesses to Lola Montez that he could not exist without her. She replies resignedly: "Life goes on."

A MAN ESCAPED (Robert Bresson, 1956)

In Lyon in 1943, Fontaine, a member of the French Resistance, jumps out of the car that is taking him to Montluc prison. He is immediately apprehended, and his German captors handcuff him, beat him, and lock him up. Throughout his time in prison, Fontaine regularly hears gunfire as other inmates are executed. At first, Fontaine is placed in a cell on the ground floor of Montluc. He communicates with his neighbor by tapping on the wall and is regularly able to talk to Terry, a member of a small group that is allowed to exercise in a courtyard unsupervised, from his window. Terry takes Fontaine's letters to his family and superiors in the Resistance and gets him a safety pin so he can remove his handcuffs. After fifteen days, Fontaine is moved to a cell on the top floor of Montluc, and he is no longer made to wear handcuffs. His new neighbor, Blanchet, is an elderly man who refuses to respond to his taps on the wall, but he gets to know several other inmates on his daily trips to empty his slop bucket and wash his face, even though the guards regularly admonish them for talking. After Blanchet faints while emptying his slop bucket, he and Fontaine begin to talk to each other at their windows. Fontaine notices the wooden door of his cell is made up of thick boards joined together by a softer wood, so he sharpens the end of a spoon and begins to chisel away at the joints. After weeks of slow, silent, meticulous work, which involves keeping track of and disposing of every wood shaving and figuring out how to camouflage the damage he is doing to the door, he is able to get out of his cell into the hallway at will. He then makes some rope using most of his linens and the wire from his bed frame. Some of Fontaine's fellow inmates begin to believe he may actually be able to figure out a way to escape from Montluc, and Orsini, who helped alert Fontaine to approaching guards while he was chiseling at his door, asks to come along. Fontaine shares his plan with Orsini, but Orsini thinks it is too complicated and instead tries to make a run for it one day as the inmates walk to empty their slop buckets. He is caught and returned to his cell while the plans are made for his execution, and he tells Fontaine to fashion hooks to scale the prison walls from the frame of the lighting fixture in his cell. Fontaine makes more rope out of some cloth items he receives in a package, and Blanchet even donates a blanket to his escape effort. As time goes on, however, the other inmates begin to doubt Fontaine will ever really try to escape, and another prisoner refuses to join his plan, calling it unrealistic. Shortly after learning he has been sentenced to death, Fontaine is given a cellmate. The young soldier, François Jost, says he has been convicted of desertion, but Fontaine suspects he may have been planted by the Nazis to get information. Fontaine spends some time feeling Jost out and ultimately decides to trust the boy and escape with him, knowing he would have to be killed otherwise. One day, Fontaine says his goodbyes and tells Jost his plan. Jost understands he does not really have a choice, so he gets on board and helps make some more rope. The pair go into the hallway that night and reach the roof via a skylight. Fontaine slowly leads the way across the roof, taking advantage of the auditory cover provided by passing trains, and descends into a courtyard, where he kills a German guard. He and Jost climb a building and hook a rope across the gap between the inner and outer walls of the prison compound, but Fontaine loses his nerve and just sits there. Several hours later, he finally shimmies across the rope and drops down into the streets of Lyon, and he and Jost walk away from Montluc undetected.

WEST SIDE STORY (Robert Wise & Jerome Robbins, 1961)

In New York City in 1957, two teenage gangs compete for control on the Upper West Side. The Jets, a group of whites led by Riff, brawl with the Sharks, Puerto Ricans led by Bernardo. Lieutenant Schrank and Officer Krupke arrive and break it up. The Jets challenge the Sharks to a rumble to be held after an upcoming dance. Riff wants his best friend Tony, a co-founder and former member of the Jets, to fight at the rumble. Riff invites Tony to the dance, but Tony says he senses something important is coming. Riff suggests it could happen at the dance. Tony finally agrees to go. Meanwhile, Bernardo's younger sister, Maria, tells her best friend and Bernardo's girlfriend, Anita, how excited she is about the dance. At the dance, the two gangs and their girls refuse to intermingle. Tony arrives; he and Maria fall in love instantly, but Bernardo angrily demands that Tony stay away from her. Riff proposes a midnight meeting with Bernardo at Doc's drug store to settle the rules for the rumble. Maria is sent home; Anita argues that Bernardo is overprotective of Maria, and they compare the advantages of Puerto Rico and the mainland United States. Tony sneaks onto Maria's fire escape where they reaffirm their love. Krupke, who suspects the Jets are planning something, warns them not to cause trouble. The Sharks arrive, and the gangs agree to a showdown the following evening under the highway, with a one-on-one fistfight. When Schrank arrives, the gangs feign friendship. Schrank orders the Sharks out and fails to discover information about the fight. The next day at the bridal shop where they work, Anita accidentally tells Maria about the rumble. Tony arrives to see Maria. Anita, shocked, warns them about the consequences if Bernardo learns of their relationship. Maria makes Tony promise to prevent the rumble. Tony and Maria fantasize about their wedding. The gangs approach the area under the highway. Tony arrives to stop the fight, but Bernardo antagonizes him. Unwilling to watch Tony be humiliated, Riff initiates a knife fight. Tony intervenes, leading to Bernardo stabbing and killing Riff. Tony kills Bernardo with Riff's knife, and a melee ensues. Police sirens blare, and everyone flees, leaving behind the dead bodies. Maria waits for Tony on the roof of her apartment building; her fiancé Chino (an arranged engagement) arrives and tells her what happened. Tony arrives and asks for Maria's forgiveness. He plans to turn himself in to the police. Maria is devastated but confirms her love for Tony and asks him to stay. The Jets and their new leader, Ice, reassemble outside a garage and focus on reacting to the police. Anybodys arrives and warns them that Chino is after Tony with a gun. Ice sends the Jets to warn Tony. A grieving Anita enters the apartment while Tony and Maria are in the bedroom. The lovers arrange to meet at Doc's, where they will pick up getaway money to elope. Anita spots Tony leaving through the window and chides Maria for the relationship with Bernardo's killer, but Maria convinces her to help them elope. Schrank arrives and questions Maria about the rumble. Maria sends Anita to tell Tony that Maria is detained from meeting him. When Anita reaches Doc's, the Jets harass and even try to rape her, when Doc appears and intervenes. Anita angrily lies, saying that Chino has killed Maria. Doc banishes the Jets, gives Tony his getaway money and delivers Anita's message. Tony, distraught, runs into the streets, shouting for Chino to kill him, too. In the playground next to Doc's, Tony spots Maria and they run toward each other, only for Chino to shoot Tony. The gangs arrive to find Maria holding Tony, who dies in her arms. Maria stops the gangs from fighting, takes the gun from Chino and threatens to shoot everyone, blaming their hate for the deaths. Schrank and Krupke arrive to arrest Chino, and the gangs unite to carry Tony's body away in a funeral procession with Maria following, the feud finally over.

KING KONG (Merican C. Cooper & Ernest B. Schoedsack, 1933)

In New York Harbor, filmmaker Carl Denham, known for wildlife films in remote and exotic locations, charters Captain Englehorn's ship, the Venture, for his new project. However, he is unable to secure an actress for a female role he has been reluctant to disclose. Searching in the streets of New York City, he finds Ann Darrow and promises her the adventure of a lifetime. The crew boards the Venture and sets off, during which the ship's first mate, Jack Driscoll, falls in love with Ann. Denham reveals to the crew that their destination is in fact Skull Island, an uncharted territory. He alludes to a mysterious entity named Kong, rumored to dwell on the island. The crew arrives and anchor offshore. They encounter a native village, separated from the rest of the island by an enormous stone wall with a large wooden gate. They witness a group of natives preparing to sacrifice a young woman termed the "bride of Kong". The intruders are spotted and the native chief stops the ceremony. When he sees Ann, he offers to trade six of his tribal women for the "golden woman". They refuse him and return to the ship. That night, the natives kidnap Ann from the ship and take her through the gate and onto an altar, where she is offered to King Kong, a giant gorilla-like beast. Kong carries a terrified Ann away as Denham, Jack and some volunteers enter the jungle in hopes of rescuing her. They encounter a living dinosaur, a charging Stegosaurus, which they manage to kill. Soon after, the crew runs into an aggressive Brontosaurus and eventually Kong himself, leaving Jack and Denham as the only survivors. After Kong slays a Tyrannosaurus rex that tried to eat Ann, Jack continues to follow them while Denham returns to the village for more men. Upon arriving in Kong's mountain lair, Ann is menaced by a snake-like Elasmosaurus, which Kong also kills. While Kong is distracted killing a Pteranodon that tried to fly away with Ann, Jack reaches her and they climb down a vine dangling from a cliff ledge. When Kong notices and starts pulling them back up, the two drop into the water below. They run through the jungle and back to the village, where Denham, Englehorn, and the surviving crewmen are waiting. Kong, following, breaks open the gate and relentlessly rampages through the village. Onshore, Denham, now determined to bring Kong back alive, renders him unconscious with a gas bomb. Shackled in chains, Kong is taken to New York City and presented to a Broadway theatre audience as "Kong, Eighth Wonder of the World!". Ann and Jack are brought on stage to join him, surrounded by a group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose as the audience flees in horror. Ann is whisked away to a hotel room on a high floor, but Kong, scaling the building, soon finds her. He rampages through the city as Ann screams in his grasp; wrecking a crowded elevated train and eventually climbing the Empire State Building. At its top, he is attacked by four biplanes. Kong destroys one, but finally succumbs to their gunfire. He gazes at Ann one last time before falling to his death. Jack takes an elevator to the top of the building and reunites with Ann. Denham arrives and pushes through a crowd surrounding Kong's corpse in the street. When a policeman remarks that the planes got him, Denham tells him, "No, it wasn't the airplanes. It was Beauty killed the Beast".

SAVING PRIVATE RYAN (Steven Spielberg, 1998)

On June 6, 1944, the U.S. Army lands at Omaha Beach as part of the Normandy invasion, incurring major losses against the artillery and mortar fire of the heavily fortified German forces. Initially dazed by the chaotic battle, 2nd Ranger Battalion Captain John H. Miller takes command of a surviving group and leads a successful infiltration behind German lines to secure victory. The United States Department of War receives communication that three of four Ryan brothers have been killed in action; the last, James Francis Ryan of the 101st Airborne Division, is listed as missing. General of the Army George C. Marshall orders that Ryan be found and sent home, to spare his family the loss of all its sons. Miller is tasked with recovering Ryan and assembles a detachment of soldiers to accompany him: Mike Horvath, Richard Reiben, Adrian Caparzo, Stanley Mellish, Daniel Jackson, Irwin Wade, and interpreter Timothy Upham, who lacks any combat experience. The group tracks Ryan to the town of Neuville-au-Plain where Caparzo is killed by a German sniper while trying to rescue a young girl. Mourning their friend, the men grow resentful at being forced to risk their lives for one man. They later find James Frederick Ryan but realize he is the wrong man with a similar name. That evening, the men rest in a chapel, where Miller tells Horvath that his hands began uncontrollably shaking after he joined the war. The men travel to a rallying point where the 101st Airborne might be after landing off course, where they find masses of wounded and displaced soldiers. Wade admonishes Reiben, Mellish, and Jackson for callously searching through a pile of deceased soldiers' dog tags in front of passing troops, hoping to find Ryan's among them and conclude their mission. Remorseful for ignoring their behavior, Miller shouts for anyone that knows Ryan; one deafened soldier tells him that Ryan was reassigned to defend a vital bridge in the town of Ramelle. On the way, Miller decides to neutralize a German gun nest they discover, against the advice of his men, and although they are successful, Wade is killed. The men decide to execute a surrendered German soldier in revenge, but Upham intervenes, arguing that they should follow the rules of war, and Miller releases the soldier, nicknamed "Steamboat Willie", ordering that he surrender to the next Allied patrol. Frustrated, Reiben threatens to desert, leading to a standoff between the men that Miller defuses by revealing his civilian background as a teacher and baseball coach, which he has always refused to disclose. Miller muses that people often guessed his career before he became a soldier, while his men could not, implying that war has changed him, and worries whether he is still the man he was or that his wife will recognize him. In Ramelle, Miller's detachment finds Ryan and informs him of their mission, but Ryan refuses to abandon his post or his fellow soldiers, believing he does not deserve to go home more than anyone else. Horvath convinces Miller that saving Ryan might be the only truly decent thing they can accomplish during the war. Miller takes command of Ryan's unofficial group as the only officer present and prepares the soldiers for a German assault. Jackson and Horvath are killed, and Upham stands paralyzed with fear as Mellish is stabbed to death. Steamboat Willie returns and shoots Miller before reinforcements arrive to defeat the Germans. Upham confronts Willie who attempts to surrender again, and kills him. Upham and Reiben observe as the mortally wounded Miller tells Ryan to earn the sacrifices made to send him home. Decades later, an elderly Ryan and his family visits Miller's grave at the Normandy Cemetery. Ryan expresses that he remembers Miller's words every day, lived his life the best he could, and hopes he has earned their sacrifices.

THE YOUNG GIRLS OF ROCHEFORT (Jacques Demy, 1967)

On a Friday morning, a caravan of trucks arrives in the French seaside town of Rochefort, on the Bay of Biscay, bringing the fair that will take place in the town square that Sunday. Étienne and Bill, two carnival workers who sell motorcycles, bicycles, and boats, help set up, while, in an apartment, Delphine teaches ballet to a group of children and her fraternal twin sister, Solange, accompanies the dancers on piano. The twins live in Rochefort, but long to find their ideal loves and move to Paris, Delphine to dance and Solange to compose. Yvonne, the mother of the twins, has a café in the town square. Among her regular customers is Maxence, a sailor who sees himself primarily as a painter and poet searching the world for his ideal woman. A painting he did of what he imagines this woman to look like is on display at the art gallery owned by Delphine's egotistical boyfriend, Guillaume Lancien, and Delphine sees it when she goes there to break off the relationship. As it looks remarkably like her, she wants to meet the artist, but Guillaume lies and tells her the painter just left for Paris. Delphine tells Solange about the artist and they decide to finally move to Paris. Solange goes to see Simon Dame at his music shop to ask him to arrange an introduction to his old friend, successful American composer Andy Miller, who is currently doing a series of recitals in Paris. While she is there, Simon tells her about his romantic past with a woman who bore his child, but left him because she could not stand his last name. He says he recently came back to Rochefort to open the shop because that is where he met the woman, though, as far as he knows, she is now in Mexico. Later, Yvonne tells Maxence the story of her relationship with the father of her young son, Booboo, indicating she regrets leaving the man just because she did not want to become "Madame Dame". When picking up Booboo from school, Solange bumps into a charming foreigner, and they are immediately smitten with each other. The man is Andy, who has come to Rochefort to visit Simon during a break in his tour, but he and Solange part without exchanging names. After she is gone, he notices she dropped the sheet music for part of a piano concerto she composed and picks it up. Étienne and Bill's girlfriends run away with a couple of sailors, which is hurtful both personally and professionally, since the women were supposed to dance at Étienne and Bill's stand at the fair to attract customers. Having gotten to know Yvonne, they think of asking her daughters to help them out, in exchange for a free ride to Paris. The twins perform at the fair to enthusiastic applause. Guillaume says he will make Delphine a star in Paris if she gets back together with him, but she turns him down. Simon tells Solange that Andy has agreed to meet her in Paris. Étienne and Bill say they love Delphine and Solange, but the twins rebuff them, though without losing their ride. On Monday morning, Simon comes by the twins' apartment. He tells Solange to go to his shop to see Andy, who is unexpectedly back in town for a short time, and agrees to pick up Booboo from school so she can do so. Maxence says goodbye to Yvonne at the café and then leaves for Paris to be an artist and continue to search for his ideal woman. Delphine enters and, while bidding her mother farewell, mentions that a man named "Simon Dame" is getting Booboo. Yvonne leaves abruptly and reunites with Simon at Booboo's school. At the music shop, Solange finds Andy playing her concerto, and the pair dance and kiss. Delphine asks Étienne and Bill to wait for Solange, but it is past time to leave, so the group departs without her. Along the way, the fair caravan passes Maxence hitchhiking, and Étienne stops to pick him up, finally bringing Delphine and Maxence together (though their meeting is not shown onscreen).

L'ECLISSE (Michelangelo Antonioni, 1962)

On a Monday of July 1961, at dawn, Vittoria, a young literary translator, ends her relationship with Riccardo in his apartment in the EUR residential district of Rome, following a long night of conversation. Riccardo tries to persuade her to stay, but she tells him she no longer loves him and leaves. As she walks the deserted early-morning streets past the EUR tower, Riccardo catches up and walks with her through a wooded area to her apartment building, where they say their final goodbyes. Sometime later, Vittoria visits her mother at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. A young stockbroker, Piero, overhears an inside tip, rushes to purchase the stocks, and then sells them at a large profit. He introduces himself to Vittoria; he is her mother's stock broker. Following the announcement of a colleague's fatal heart attack and a moment of silence, the room erupts back into frenzied activity. Outside the building, Vittoria and her mother walk to an open market nearby. Vittoria attempts to discuss her own recent breakup, but her mother is preoccupied with her earned profits. That evening, Vittoria's neighbor Anita (Rosanna Rory) comes to visit and they discuss the former's breakup. Vittoria says she is depressed, disgusted, and confused. Another neighbor, Marta, calls and invites them to her apartment nearby. Marta talks about the farm she and her husband have in Kenya. For a game, Vittoria dresses up as an African dancer with dark makeup, and dances around the apartment. Marta, unamused, asks her to stop. The conversation turns sour as Marta, a colonialist, worries about "monkeys" arming themselves and threatening the minority whites. Vittoria and Anita dismiss such talk. When Marta's dog Zeus gets free of the house, the women run after him. Vittoria is fascinated by the sound of the fencing in the wind. Back in her apartment, Riccardo calls for her, but she hides and doesn't answer. The next day, Vittoria and Anita fly to Verona in a small airplane. On the way, Vittoria is fascinated by the clouds. At the airport, she watches the airplanes taking off and landing with childlike wonder. "It's so nice here", she tells Anita. Meanwhile, back at the Rome Stock Exchange, Piero is busy making trades. Vittoria arrives at the Stock Exchange and learns that her mother lost about 10 million lire. Another man lost 50 million. Vittoria follows the man through the crowded streets to a small cafe, where she sees him drawing flowers on a small piece of paper and drinking mineral water. She meets Piero, and he drives her to her mother's apartment in his Alfa Romeo Giulietta sportscar. She shows him framed family pictures and her room growing up. Piero tries to kiss her, but she avoids his pass. Piero drives back to his office on Via Po near Via Salaria, where he must break the bad news to his investors. After work outside his office, Piero meets with a call girl he previously arranged to meet, but is disappointed that she recently changed her hair color from blonde to brunette. Deciding not to go with her, Piero drives to Vittoria's apartment and stands outside her window. He hears her typing. After a drunk walks by and notices Vittoria at the window, Piero comes over. While they are talking, the drunk steals Piero's sportscar. The next morning, Piero and Vittoria arrive at the crash site where the drunk drove the car into a lake. Vittoria watches as they pull the car with the body from the water. As they walk away, Vittoria is surprised that Piero is concerned about the dents and the motor rather than the dead man. They enjoy a playful walk through a park. When they reach her building, Vittoria unties a balloon from a carriage and calling to her new friend Marta tells her to shoot the balloon with her rifle (Marta previously having shot rhinoceros and elephants in Kenya), which she does as it ascends into the sky. When they reach her building, he kisses her, but she seems uneasy. Before she leaves, she drops a piece of wood into a barrel of water. That evening, Vittoria tries to call Piero, but his phone is busy. When she finally reaches him, she does not speak and he, thinking it's a prank call, yells into the phone and slams down the receiver. The next day, while waiting outside near her house, Vittoria looks in the barrel of water and sees the wood is still there. Piero arrives and tells her he bought a new BMW to replace his Alfa Romeo. She asks to go to his place. They walk past a nurse wheeling a young girl in a baby carriage. Piero takes her to his parents' apartment, which is filled with beautiful works of art and sculpture. As they talk, she seems nervous and unwilling to open up to him: "Two people shouldn't know each other too well if they want to fall in love. But then maybe they shouldn't fall in love at all". They converse playfully, kiss each other through a glass window, and then kiss passionately. After he accidentally tears her dress, she goes into a bedroom and looks at the old family pictures. At the window she looks down to the street where she sees two nuns walking, some people talking at a café, a lone soldier standing on a corner waiting. Piero comes to the bedroom, and they make love. Sometime later, Piero and Vittoria are lying on a hill looking up at the sky. He looks around and says "I feel like I'm in a foreign country". She says that's how she feels around him. He gets upset when he doesn't understand what she's feeling. She says "I wish I didn't love you or that I loved you much more". Sometime later at his office, Vittoria and Piero kiss and embrace playfully on the couch, even wrestling on the floor like children. When an alarm goes off, they prepare to part. They embrace and talk of seeing each other every day. They agree to meet that evening at 8 pm at the "usual place" near her apartment. That evening, on Sunday 10 September 1961, neither shows up at the appointed meeting place.[6]

TIE XI QU: WEST OF THE TRACKS (Wang Bing, 2003)

"Rust" The first portion, "Rust," follows a group of factory workers in three state-run factories: a smelting plant, an electric cable factory and a sheet metal factory. Workers of all three are hindered by sub-standard equipment, hazardous waste, and a lack of safety precautions. Perhaps even worse, the declining need for heavy industry results in a constant shortage of raw materials, leaving the workers idle and concerned for their future. In Chinese, this section is called 工廠 (gōngchǎng), meaning "factory". "Remnants" The second part, "Remnants" follows the families of many of the workers in an old state-run housing block, "Rainbow Row." In particular, Wang focuses on the teenage children who concern themselves with their own lives but must also cope with their inevitable displacement as Tie Xi's factories continue to close down. In Chinese, this section is called 艳粉街 (Yànfěn Jiē), meaning "Yanfen Street." "Rails" The third part, "Rails" narrows its focus to a single father and son who scavenge the rail yards in order to sell raw parts to the factories. With the factories closing however, their future suddenly becomes uncertain. In Chinese, this section is called 铁路 (tiělù), meaning "railway."

BERLIN ALEXANDERPLATZ (Rainer Werner Fassbinder, 1980)

"The Punishment Begins" Berlin, 1928. Franz Biberkopf is released after serving four years in Tegel prison for killing his girlfriend Ida. After settling into his old apartment he visits Minna, Ida's sister, and rapes her. In a flashback we see Franz kill Ida with a cream whip after correctly suspecting she was about to leave him. Franz later runs into his old friend Meck and has a drink with him in Max's bar, a local place. There he meets Lina Przybilla, a young Polish woman, who moves in with him. He receives notification from the Berlin police that he is barred from living in certain Berlin districts and surrounding municipalities, under the threat of a fine or imprisonment. Biberkopf places himself under the supervision of a charity called Prisoners' Aid, to which he must report once a month while remaining in employment. By doing this, he is able to remain in Berlin. "How Is One to Live if One Doesn't Want to Die?" Franz is self-employed hawking necktie holders on the street, but has trouble making enough money and does not consider himself an orator. After turning down the opportunity to sell sex education manuals, he is talked into selling the Nazi newspaper Völkischer Beobachter and wearing a swastika armband. In the subway, Franz is confronted by a Jewish man selling hot sausages, but denies being antisemitic, and Dreske with two other men also known to him. Dreske admires Lenin and the Soviet Union, but Franz responds by decrying revolution and 'their' Weimar Republic. At Max's bar, Dreske and his friends sing "The Internationale" to provoke Franz, to which he responds by singing the 19th-century patriotic songs "The Watch on the Rhine and "Ich hatt' einen Kameraden". At the top of his voice, Franz accuses them of being loudmouths and crooks, before almost collapsing. The other men return to their table. Outside, Franz meets Lina. He rambles about what has just happened; the men he has just met cannot understand life and do not know what it is like to be in prison. "A Hammer Blow to the Head Can Injure the Soul" Lina is now troubled by the dubious nature of the job Franz is fulfilling. She introduces him to a family friend, Otto Lüders, who turns out to be an ex-con he knows from prison, but Franz thinks Otto is a good man. With him, Franz begins selling shoelaces door-to-door. In the first apartment, Franz spends time with a widow whose deceased husband he closely resembles. Later, to Otto, he reports having sex with the widow. The next day, Otto goes to the widow's home and expects the same, but she feels threatened and rejects him. Otto demands money and steals from her. When Franz goes back to the widow, happily expecting another tryst, she slams the door on him. Franz vanishes. Lina distraught, searches for him with Meck. They wake Otto in the early morning, but Meck recognises that his account is full of lies and hits him. Franz is found in a flophouse by Otto, who is immediately threatened with a chair. Otto offers him a share of the money Franz realises has been extorted from the widow, but wanting to go straight, he pours the contents of a chamber pot over Otto. Meck gets Franz's location out of Otto, but Franz had left soon after the earlier incident. Meck persuades Lina that Franz wishes to be left alone, and suggests she live with him. "A Handful of People in the Depths of Silence" Franz goes on an alcohol binge as a former medical orderly, Baumann, looks after him in rooms in a building opposite the one occupied by the prisoners' charity on which he depends for his liberty in Berlin. Franz wanders the streets in a delirious state; outside a church he takes a coal delivery man for a pastor. When he comes round after another binge, Baumann tells him he has been lying in a stupor for three days. Franz now feels that neither God, Satan, angels or other people can help him. After various thefts in the building become known, Baumann tells Franz he will not be with him for much longer, though the occupants of the neighbouring rooms are soon arrested. Franz strikes up a conversation with the vendor who offered him the sex education manuals, and discovers Meck is now selling clothes on the street and apparently doing well. Meck admits to Franz that he had been living with Lina until she left him. "A Reaper with the Power of Our Lord" Franz, after several fleeting encounters, has finally become reacquainted with Eva. Eva, for whom he used to pimp, feels a deep affection for him, and has paid the rent for his old rooms in his absence. At Max's, Meck introduces Franz to Pums, the ringleader of an illegal enterprise. He also meets Reinhold, one of Pums's men. Reinhold is tired of his woman, Fränze, and wants Franz to take her off his hands. Franz has her come over and has sex with her. She returns to him after she cannot find Reinhold. Reinhold then employs the same plan with his current woman, Cilly, whom Franz accommodates after provoking a row with Fränze. Reinhold, after contact with the Salvation Army, has had enough of "broads" and is desperate to end his involvement with his current woman, Trude, but Cilly is angry when this is explained to her by Franz, and she briefly considers Franz worse in his treatment of women than Reinhold, possibly unaware of Ida's murder, but she persuades Franz to tell Trude about Reinhold's nature. They are reconciled. "Love Has Its Price" Franz explains to Reinhold that he wants Cilly to remain with him. Franz gets sucked into Pums's gang when he is drafted for a job as a last-minute replacement for Bruno, who gets beaten in the street. Franz ends up as a lookout as Pums, Reinhold, and Meck pull a robbery. In the getaway truck, Reinhold becomes suspicious of Franz because of a car that seems to be following them. Reinhold throws Franz out of the back of the truck. "Remember — An Oath Can Be Amputated" Franz has survived the car accident, but his right arm has been amputated. He recuperates for a time with Eva and Eva's lover Herbert. Herbert agitates against Pums's syndicate, so the boss decides to take up a collection to help with Franz's medical costs. Franz goes to a red light district and encounters a pimp who offers him a woman he calls the ***** of Babylon. "The Sun Warms the Skin, but Burns It Sometimes Too" Franz gets involved in an illegal enterprise with Willy, whom he met at a cabaret. Eva and Herbert drop by to see Franz and bring a young woman they offer as a new lover. Franz and the tender-hearted woman, whom he names Mieze, fall for each other. However, their spell of love is broken when Franz finds a love letter from another man. "About the Eternities Between the Many and the Few" Eva explains to Franz that Mieze just wants to work to support him as Franz cannot do so due to his missing arm. He reconciles with Mieze. Franz goes to Reinhold's and tells him how he has become a pimp. Reinhold is disgusted by Franz's stump of an arm. Franz is inspired by a communist rally, during which Franz daydreams. After the meeting, Franz and Willy playfully debate a militant worker about the merits of their "dishonest" work. The two then meet Eva and Herbert, wherein Franz mockingly recounts the lessons he's learned about power and the state at the meeting, before more seriously soliliquizing about the role of order and authority versus a more limitless power. "Loneliness Tears Cracks of Madness Even in Walls" As Mieze cannot have children, Eva tells her she will have a child with Franz that Mieze can then raise. Mieze is delighted, to the point that Eva asks if she is a lesbian. Eva also tells Mieze she's concerned that Franz is getting into trouble with "rogue" Willy, when he should be attending to those who took his arm. At Max's bar, Franz listens as Willy espouses Nietzschean ideas while Max pleads with a Marxist to keep politics out of the bar. Franz drunkenly wanders the streets at night repeating snippets of the conversation before declaring he has no use for politics. Franz takes a taxi to the Tegel prison, where he falls asleep on a park bench before being accosted by a police officer and, now very drunk, making his way back home. The next day, Mieze asks Franz to stay out of politics, and he again declares he has no interest. Mieze admits she has taken a rich client and; Franz is horrified as he thinks Mieze wants to be rid of him, until Mieze describes the agreement made with Eva for Franz's baby. After Mieze leaves, Eva arrives and asks if Franz wants to have the baby, and the two have sex. Responding negatively to a lecture from Herbert on his increasing drunkenness, Franz returns home and Mieze and he agree to get drunk. Mieze's rich client arrives. Franz finds out that she is going away with him for three days and weeps in despair. "Knowledge Is Power and the Early Bird Catches the Worm" Franz goes to Reinhold and tells him he wants to get involved with Pums again. Reinhold still has his suspicions but Franz is allowed to assist the gang with a job. Mieze is upset that Franz is earning money because she thinks Franz wants to be independent of her, but Franz reassures her. Franz brags to Reinhold about Mieze's devotion and decides to show him what a fine woman she is. In the apartment, Franz has Reinhold hide in the bed when Mieze arrives. She reveals she is in love with another man. Franz is angered and beats her cruelly, but Reinhold saves her and Franz throws Reinhold out. Mieze goes out to Franz and the two reconcile, though she has been bloodied by him. Franz and Mieze take a trip outside Berlin, where he explains to her he simply wanted Reinhold to see a true woman. "The Serpent in the Soul of the Serpent" Franz introduces Mieze to Meck. Reinhold blackmails Meck to set up a meeting for him with Mieze. Meck takes Mieze on a drive to Bad Freienwalde and delivers her to Reinhold. Reinhold takes her for a walk in the woods, where she resists his advances. Mieze wants to know more about Franz, and Reinhold reveals it is because of him that Franz lost his arm. Mieze is horrified at this revelation. Reinhold strangles her and leaves her in the woods. "The Outside and the Inside and the Secret of Fear of the Secret" Franz tells Eva that Mieze has left him. Eva reassures him, though she is a bit concerned herself. A robbery pulled off by Pums's gang goes wrong and Meck burns himself with a welding torch. Franz takes Meck to his apartment to bandage his wound. Meck tells Franz that Reinhold is a bad guy, but Franz claims he has a good heart. Meck takes the police out into the woods and helps them find Mieze's strangled body, telling them he helped to bury her. Eva brings Franz a newspaper that relates Mieze's murder. Franz lapses into demented laughter, claiming he is pleased that at least Mieze did not leave him as he had thought. Once he stops laughing, he vows to kill Reinhold. "My Dream of the Dream of Franz Biberkopf by Alfred Döblin, an Epilogue" In a fantasy sequence, Franz walks along a street of the dead with two angels. He finds Mieze, but she disappears from his arms. Reinhold is in prison for the crimes committed by a man whose identity he has acquired. He is anguished that his cellmate and lover is being released. Franz is taken to an asylum. Much of the rest of the episode takes place in his imagination. Franz's being run over by the car is re-enacted with different characters taking on the roles of victim and driver. In a striking sequence, Franz and Mieze are treated like animals being slaughtered in an abattoir. On a nativity set, Franz is raised on a cross as the other characters watch. An atom bomb goes off in the background and the angels clear the dead. The surreal imagery ceases suddenly and Franz is at Reinhold's trial testifying to his good character. Reinhold is sentenced to 10 years for manslaughter. Eva tells Franz she has lost the baby. The film concludes with Franz as an assistant gatekeeper at a factory. He is alert to his job but not to war on the horizon.

BARREN LIVES (Nelson Pereira dos Santos, 1963)

1940s. A poor peasant family from the Northeast flees drought and famine. The family is made up of a mother, father and two young sons. After a tiring walk through the sertão, they reach the dilapidated house of Tomas, a friend who has gone to try his luck in other regions. The walk to get to Tomas was very long. The dog makes sure that the kid does not get left behind and at one point the father has to carry the oldest child because he is exhausted. Fabiano, the head of the family, is hired as a cowherd with a fazenda owner who employs Tomas. Life is not easy and Fabiano is indebted to his boss. One Sunday, before a folklore festival, Fabiano is provoked to play cards by a police officer. Although he wins, he gets beaten and dragged to prison. Released, he goes back to work. The mother is mad that he spent all of their money on a drink and on gambling. She really wants to be able to sleep in a leather bed. The drought is raging again so the couple and their children prepare to set out again, desperately looking for fertile land. The father goes out into a field to kill the dog before they leave. The end of the film is a long take of them walking into the barren desert. The bright sun is a common theme throughout the film. On their journeys to look for a better future, the sun makes it very hard to continue walking. The sun also dries up all of the water and water represents life. Without it everything dies.

PAISAN (Roberto Rossellini, 1946)

1st Episode[edit] During the Allied invasion of Sicily, an American patrol makes its way to a village at night. Only one of the Americans speaks Italian. Local girl Carmela, who wants to find the whereabouts of her brother and father, agrees to guide the patrol past a German minefield to the seaside. While one of the patrol, Joe, is assigned to keep an eye on Carmela in a castle ruin, the others inspect the area. Despite the language barrier, Joe starts to overcome Carmela's distance. When he is shot by a German sniper, Carmela hides him in the basement of the building. Upon the discovery that Joe has died, she takes his rifle and starts shooting at the enemy. When the Americans return, they find Joe's body and assume Carmela killed him. The last scene shows the dead Carmela lying at the bottom of the cliffs, having been shot by the German patrol. 2nd Episode[edit] The Allies invade mainland Italy and capture the port of Naples. An orphaned street urchin named Pasquale happens upon Joe, a drunk African-American soldier who is about to become the victim of a robbery. When the police arrive, Pasquale runs away with Joe, who tells him of his war experiences. After Joe falls asleep, Pasquale takes his boots. The next day, Joe, who turns out to be a military policeman, catches Pasquale stealing supplies from a truck. Joe demands his boots back, but when the boy takes him to where he lives, the sight of the squalor causes Joe to leave without them. 3rd Episode[edit] Francesca, a young prostitute in liberated Rome, takes Fred, a drunken American soldier, to the room where she serves her customers. He is not interested in her services and tells her of his futile search for a young woman he met and fell in love with shortly after the liberation of the city six months earlier. As he describes the woman, Francesca realises that she is the woman; both of them have changed so much in the short time that has passed that they do not recognise each other. When Fred falls asleep, Francesca slips out, asking the landlady to give Fred a piece of paper with her address on it when he awakes, and leaves. The next day, Francesca waits in vain for Fred. Fred finds the paper with her address in his pocket, assuming that it is the address of a brothel. He throws the piece of paper away and leaves the city with his unit. 4th Episode[edit] The southern half of Florence is freed, but fierce fighting continues in the other half, across the Arno river, between Italian partisans and the Germans and their fascist allies. All the bridges except the Ponte Vecchio have been blown up, stalling the Allied advance. Nurse Harriet learns that the leader of the partisans, "Lupo", is an artist whom she knew in Florence before the war. She teams up with partisan Massimo, a man desperate for news of his family, and enters the embattled city through the Vasari Corridor. After being held up by a gunfight, Massimo proceeds with his search, while Harriet takes care of a wounded partisan, from whom she hears of Lupo's recent death. 5th Episode[edit] Three American military chaplains are welcomed to stay the night at a Roman Catholic monastery in the Appenine mountains West of Rimini. Captain Bill Martin, who is the only one of the chaplains who speaks Italian, acts as interpreter. The monks are dismayed to learn from Martin that only he is a Catholic; his two colleagues are a Protestant and a Jew. When the guests and their hosts sit down to supper, Martin observes that the monks have nothing on their plates. He inquires and learns that the monks have decided to fast in the hope of gaining the favour of Heaven to convert the other two to their faith. Despite the rule that meals have to be taken in silence, Martin holds a speech in which he expresses his appreciation for having found his peace again which he had believed to be lost in the tribulations of war. 6th Episode[edit] In December 1944, three members of the OSS are operating behind German lines with Italian partisans in the Po delta. They rescue two downed British airmen. On their return to the Italian family who supported them, they find that these have been executed by the Germans. Later, the Allied soldiers and the partisans are captured by the enemy. A German officer explains to the captees his country's motives for the war, and that it will not stop before having achieved world domination. The partisans are summarily executed the next day, and the Allied prisoners shot when they try to interfere. The film closes with a voice-over narration (which opens each episode), stating, "This happened in the winter of 1944. By the beginning of Spring, the war was over."

FREAKS (Tod Browning, 1932)

A beautiful and conniving trapeze artist named Cleopatra seduces a carnival sideshow little person named Hans after learning of his large inheritance, much to the chagrin of Frieda, his fiancée, also a little person. Cleopatra also conspires with circus strongman Hercules to kill Hans and inherit his wealth. Meanwhile, other romances flourish among the sideshow performers: the Bearded Lady, who is in love with the Human Skeleton, gives birth to their daughter. The news is spread among the friends by the Stork Woman. Additionally, Violet, a conjoined twin whose sister Daisy is married to Roscoe, the stuttering circus clown, becomes engaged to the circus's owner. Hans, enamored of Cleopatra, ultimately marries her. At their wedding, Cleopatra begins poisoning Hans's wine but drunkenly kisses Hercules in front of Hans, revealing her affair. Oblivious, the other "freaks" announce that they accept Cleopatra in spite of her being a "normal" outsider; they hold an initiation ceremony in which they pass a loving cup around the table while chanting, "We accept her, one of us. We accept her, one of us. Gooble-gobble, gooble-gobble."[12] However, Cleopatra's mean-spirited amusement at this ceremony soon turns into fear and anger after Hercules jokes that the rest of the entertainers plan to turn her into one of them. She mocks them, tosses the wine in their faces and drives them away before berating Hans and drunkenly parading him around on her shoulders like a child. The humiliated Hans realizes that he has been played for a fool and rejects Cleopatra's attempts to apologize, but then he falls ill from the poison. While bedridden, Hans pretends to apologize to Cleopatra and also pretends to take the poisoned medicine that she is giving him, but he secretly plots with the other entertainers to strike back at Cleopatra and Hercules. In the film's climax, Hans confronts Cleopatra with three of the entertainers as backup thugs. However, Hans's circus wagon is overturned in a storm, giving Cleopatra the chance to escape into the forest, closely pursued by them. At the same time Hercules goes to kill seal-trainer Venus for knowing about the plot. Venus's boyfriend, Phroso the clown, attempts to stop Hercules but is nearly killed before the rest of them intervene and injure Hercules, saving Phroso. They all pursue an injured Hercules. The freaks then capture Cleopatra and sometime later, she is shown to be a grotesque, squawking "human duck" on display for carnival patrons; her tongue has been removed, one eye has been gouged out, the flesh of her hands has been melted and deformed to look like duck feet, her legs have been cut off, and what is left of her torso has been permanently tarred and feathered. In the original version of the film, it is revealed that after the freaks caught Hercules, they made him into a castrato singer. While some versions end on Cleopatra as the human duck, another ending shows Hans, now living in a mansion from his inheritance and still humiliated, visited by Phroso, Venus and Frieda. Frieda tells Hans she knows he just wanted to demand the bottle of poison from Cleopatra, not to mutilate her, and not to blame himself for what happened; and that she still loves him. The two then share a heartwarming hug.

THE DISCREET CHARM OF THE BOURGEOISIE (Luis Buñuel, 1972)

A bourgeois couple, François and Simone Thévenot, accompany François's colleague Don Rafael Acosta, the ambassador from the South American nation of Miranda, and Simone's sister Florence, to the house of the Sénéchals, the hosts of a dinner party. Once they arrive, Alice Sénéchal is surprised to see them and explains that she expected them the following evening and has no dinner prepared. The would-be guests then invite Alice to join them for dinner at a nearby inn. Arriving at the inn, the party finds it locked. They knock and are reluctantly invited in by a waitress who mentions that the restaurant is under new management. Inside, there are no diners, and the prices on the menu are disconcertingly low. The party hears wailing from an adjoining room and discovers a vigil for the corpse of the manager, who died a few hours earlier. The party is told that the coroner is coming soon, but they hurriedly depart. Later, at the Embassy of Miranda, Acosta meets with François and Alice's husband Henri to discuss the proceeds of a large cocaine deal. During the meeting, Acosta sees a young woman selling clockwork-animal toys on the footpath outside the embassy. He shoots one of the toys with a rifle and the woman runs off. He explains that she is part of a Maoist Mirandan terrorist group that's been targeting him for months. Two days later, the bourgeois friends attempt to have lunch at the Sénéchals', but Henri and his wife escape to the garden to have sex instead of joining them. One of the friends take their unexplained absence to mean that the Sénéchals know the police are coming and have left to avoid arrest for their involvement in drug trafficking. The party again leaves in a panic. When the Sénéchals return from the garden, their friends are gone, but they meet a bishop who has donned their gardener's clothing. They throw him out, but when he returns wearing his bishop's robes, they embrace him with deference. The bishop asks to work for them as their gardener. He tells them about his childhood — that his parents were murdered by arsenic poisoning and that the culprit was never apprehended. (Later in the film, he goes to visit a dying man who turns out to be his parents' murderer; after blessing the man, the bishop kills him with a shotgun.) The women visit a teahouse just as it has run out of all beverages - tea, coffee, and milk - although it finally transpires that they do have water. While they are waiting, a soldier tells them about his childhood: how after his mother's death his cold-hearted father sent him to military school. The ghost of the soldier's mother informed him that the man was not his real father but his father's killer; they had dueled over his mother. Following the ghost's request, the soldier killed the culprit with poison. Simone meets Acosta at his apartment. They are having an affair but are interrupted by a visit from her husband, whereupon she makes a convenient excuse and leaves with him. Acosta is next visited by the same terrorist from earlier, who has come to kill him. He ambushes and chastises her, then tells her to leave when she refuses his sexual advances; his agents capture her and take her away. Several abortive dinner parties ensue; interruptions include the arrival of a group of army officers and enlisted men, who join the dinner only to be called away for alarmingly close military maneuvers, the revelation that a colonel's dining-room is a stage set in a theatrical performance for an audience that is angry with the actors for not knowing their lines, the ambassador's shooting of the colonel after he insults the nation of Miranda and slaps the ambassador, the arrest and release of the bourgeois friends, and their summary execution by the terrorists. Most if not all of these scenes turn out to be dream sequences in which ghosts make frequent appearances. A recurring scene throughout the film, of the six people walking silently and purposefully on a long, isolated country road, is also the final sequence.

MELANCHOLIA (Lars von Trier, 2011)

A dream sequence showcases slow-motion shots of the main characters, a collapsing horse, falling birds, butterflies, different planets, and images of the Earth colliding with a rogue planet.[9] Part One: Justine[edit] The dream belongs to Justine, who weds Michael in a castle owned by her brother-in-law John and her sister Claire. Justine and Michael are late for the reception due to their stretch limousine's difficulty traversing the narrow and winding rural road. Upon their arrival, Justine sees a star in the sky shining brightly. John, an astronomy enthusiast, explains it is the star Antares. The festivities are less than harmonious; Justine's divorced parents Gaby and Dexter verbally abuse each other in front of the guests. Justine, to John and Claire's annoyance, keeps wandering away. Justine's employer Jack, who announces her promotion to art director of his advertising firm, expects her to write a slogan for a new campaign during the celebration. Justine finds herself pushed into a role that others have chosen for her and falls back into depression, from which she has been suffering for a long time. Toward the end of the party, which goes on until the early hours of the morning, she quits her job in an argument and calls off her marriage to Michael after cheating on him. Early the following morning, while horseriding with Claire, Justine notices Antares is no longer visible in the sky. Part Two: Claire[edit] Justine returns home with Claire, but sinks even further into depression, and is welcomed back to John and Claire's estate, where she struggles to leave her bed and is unable to eat. According to John, Antares's absence is due to the rogue planet "Melancholia". The planet appeared from behind the Sun and passed in front of Antares. John announces that according to the scientists' calculations, Melancholia will pass in close proximity to Earth, but will not collide with it. Claire looks anxiously at Melancholia's path on the Internet, learning of a predicted collision with Earth. John tries to calm her down but secretly secures food and gasoline. In view of the approaching planet, Claire increasingly loses her composure, while Justine longs for the end of the world and "sunbathes" naked in the planet's glow at night. Strange omens pile up in the days that follow. The electricity in the castle goes out, the butler does not come to work, the horses in the stable are restless, St. Elmo's fires emerge at various times, and the weather changes erratically. Melancholia initially flies past Earth, seemingly vindicating John. Melancholia then crosses Earth's orbit a second time, however, now moving directly toward Earth. Upon this discovery, John commits suicide by overdosing on pills. Claire hides his death from the family and attempts to flee with her son Leo, but the cars will not start. Justine declines to spend her final moments with Claire on the terrace by candlelight and wine. Instead, Justine calms Leo down by suggesting that they build a "magic cave" out of branches. Shortly before the collision, Justine, Claire, and Leo sit under the "cave" and hold hands. While Justine and Leo seem apathetic to, or at peace with their impending doom, Claire panics and despairs. Melancholia finally collides with Earth, engulfing them in a sea of flames as both planets shatter against each other.

THE TRAVELLING PLAYERS (Theo Angelopoulos, 1975)

A group of travelling players tour through Greece putting on a play called Golfo the Shepherdess. The first level of the film shows them setting up, rehearsing, promoting and performing in fustanella this 1893 piece, a bucolic verse drama of love, betrayal and death. In the next level the film focuses on the historical events between 1939 and 1952 as they are experienced by the travelling players and as they affect the communities which they visit: the last year of Metaxas' authoritarian dictatorship, the war against the Italians, the Nazi occupation, the liberation, the civil war between the government and communist insurgents, and British and American intervention in Greek affairs. In a further level the characters live their own drama of jealousy and betrayal, with its roots in the ancient myth of the House of Atreus. Agamemnon, a Greek refugee from Asia Minor, goes to war against the Italians in 1940, joins the resistance against the Germans, and is executed by them after being betrayed by Clytemnestra and Aegisthos. Aegisthos, Clytemnestra's lover, is an informer and collaborator working with the German occupiers. Orestes, son of Agamemnon and Clytemnestra, fights on the side of the leftists, avenges his father's death by killing his mother and Aegisthos. He is arrested in 1949 for his guerrilla activities and is executed in prison in 1951. Electra, his sister, helps the leftists and aids her brother in avenging the treachery of their mother and Aegisthos. After the death of Orestes she continues the work of the troupe and her relationship with Pylades. Chrysotheme, Electra's younger sister, collaborates with the Germans, prostitutes herself during the occupation, sides with the British during liberation, and later marries an American. Pylades, close friend of Orestes, is a Communist who is exiled by the Metaxas regime, joins the guerrillas and is arrested and exiled again. Finally he is forced to sign a written denunciation of the left after torture by the right wing and he is released from prison in 1950.

MULHOLLAND DR. (David Lynch, 2001)

A dark-haired woman is the sole survivor of a car crash on Mulholland Drive, a winding road high in the Hollywood Hills. Injured and dazed, she makes her way down into Los Angeles by foot and sneaks into an apartment. Later that morning, an aspiring actress named Betty Elms arrives at the apartment, which is normally occupied by her Aunt Ruth. Betty is startled to find the woman, who has amnesia and calls herself "Rita" after seeing a poster for the film Gilda starring Rita Hayworth. To help the woman remember her identity, Betty looks in Rita's purse, where she finds a large amount of money and an unusual blue key. At a diner called Winkie's, a man tells another about a nightmare in which he dreamt of encountering a horrific figure behind the diner. When they investigate, the figure appears, causing the man who had the nightmare to collapse in fright. Elsewhere, director Adam Kesher has his film commandeered by mobsters, who insist he cast an unknown actress named Camilla Rhodes as the lead. Adam refuses and returns home to find his wife Lorraine cheating on him. When the mobsters withdraw his line of credit, Adam arranges to meet a mysterious cowboy, who cryptically urges him to cast Camilla for his own good. Meanwhile, a bungling hitman attempts to steal a book full of phone numbers and leaves three people dead. While trying to learn more about Rita's accident, Betty and Rita go to Winkie's and are served by a waitress named Diane, which causes Rita to remember the name "Diane Selwyn". They find Diane Selwyn in the phone book and call her, but she does not answer. Betty goes to an audition, where her performance is highly praised. A casting agent takes her to a soundstage where a film called The Sylvia North Story, directed by Adam, is being cast. When Camilla Rhodes auditions with the song "I've Told Every Little Star", Adam capitulates to the mob by casting her. Betty locks eyes with Adam, but she flees before she can meet him, saying she is late to meet a friend. Betty and Rita go to Diane Selwyn's apartment, where a neighbor answers the door and tells them she has switched apartments with Diane. They go to the neighbor's apartment and break in when no one answers the door. In the bedroom, they find the body of a woman who has been dead for several days. Terrified, they return to Betty's apartment, where Rita disguises herself with a blonde wig. That night, she and Betty have sex. At 2 a.m., Rita awakes suddenly, insisting they go right away to a theater called Club Silencio. There, the emcee explains in different languages that everything is an illusion; Rebekah Del Rio comes on stage and begins singing the Roy Orbison song "Crying" in Spanish, then collapses, unconscious, while her vocals continue in playback. Betty finds a blue box in her purse that matches Rita's key. Upon returning to the apartment, Rita retrieves the key and finds that Betty has disappeared. Rita unlocks the box, and it falls to the floor. Aunt Ruth enters the room to find nobody. Diane Selwyn wakes up in her bed in the same apartment Betty and Rita investigated, where her neighbor informs her that two police officers have been looking for her. She looks exactly like Betty, but is a struggling actress driven into a deep depression by her failed affair with Camilla Rhodes, who is a successful actress and looks exactly like Rita. At Camilla's invitation, Diane attends a party at Adam's house on Mulholland Drive. At dinner, Diane states she came to Hollywood from Canada when her Aunt Ruth died and left her some money, and she met Camilla at an audition for The Sylvia North Story. Another woman who looks like the previous "Camilla Rhodes" kisses Camilla, and they turn and smile at Diane. Adam and Camilla prepare to make their marriage announcement, but they dissolve into laughter and kiss while Diane watches, crying. Later, Diane meets the hitman at Winkie's, to hire him to kill Camilla. He tells her she will find a blue key when the job is completed. The figure from the man's dream is revealed to have the matching blue box. In her apartment, Diane looks at the blue key on her coffee table, when someone unceasingly knocks on the door. Distraught, she is terrorized by hallucinations and runs screaming to her bed, where she shoots herself. A woman at the theater whispers, "Silencio".

SONGS FROM THE SECOND FLOOR (Roy Andersson, 2000)

A man is standing in a subway car, his face dirty with soot. In his right hand he carries a plastic bag with documents, or rather, the charred leftovers of them. In a corridor a man is clinging desperately to the legs of the boss who just fired him. He is screaming: "I've been here for thirty years!" In a coffee shop someone is waiting for his father, who just burned his furniture company for insurance money. Traffic jams and self-flagellating stock brokers are filling up the streets while an economist, desperate for a solution to the problem of work becoming too expensive, gazes into the crystal ball of a scryer. The main men all have goals but their destinations change during the story.

HOLY MOTORS (Leos Carax, 2012)

A man wakes up and finds a secret door in his apartment. He opens it and wanders into a movie theater full of sleeping patrons. A naked child and several dogs wander the aisles. Meanwhile, in Paris, a rich man waves goodbye to his family and gets into a white limousine. His driver, Céline, calls him Mr. Oscar and tells him he has nine appointments that day. He reads a file, uncovers a mirror, and begins to brush a grey wig. Over the course of the day, he: plays an old woman beggar on the Pont Alexandre III. dons a motion capture suit and enters an empty sound stage, where he performs action sequences while being directed by an unseen man. A woman in a motion capture suit enters, and the pair perform movements that are used to create a sex scene between animated snakelike creatures. plays the role of Monsieur Merde, an eccentric and violent red-haired man who lives in the sewers and kidnaps a beautiful model called Kay M. from a photo shoot in a cemetery. plays a father who picks up his daughter from a party in an old red car. They argue when the daughter reveals she spent the party hiding in the bathroom instead of socializing. (as an interlude) plays a song on the accordion in a church with an ever-growing group of musicians. plays a gangster assigned to murder a man who looks identical to him. After he has stabbed the man in the neck and carved scars into the man's face that match his own, the victim suddenly stabs Oscar in the neck. Oscar manages to limp his way back to the limousine, seemingly severely injured. While Oscar is removing his makeup, a man with a port-wine stain on his face reveals his presence in the limo. The man asks Oscar if he still enjoys his work, since he has looked "tired" recently. Oscar admits it is harder now that he cannot see the cameras, but says he continues for "the beauty of the act". yells at Céline to stop, runs from the limo wearing a red balaclava covered with barbed wire, and shoots a banker who looks just like he did in the morning when he left for his first appointment. He is gunned down by the banker's bodyguards and Céline rushes to him. As she leads him away, she apologizes and says there has been a mix-up. plays the elderly "Mr. Vogan", who enters a hotel and gets into bed in one of the rooms. Vogan's niece Léa enters, they talk about their lives, and he dies. While Léa cries, Oscar gets out of bed and excuses himself to go to another appointment. He asks Léa her real name, and she says it is Élise and that she also has another appointment. (in what does not seem to be one of his appointments) is almost hit by another white limousine, whose female passenger he recognizes. Still in pajamas, Oscar asks if they can talk, and they go to the abandoned La Samaritaine building, where Jean (the woman) says they have 20 minutes to catch up on the past 20 years before her "partner" arrives and she will play the last night of an air hostess named Eva Grace. As they ascend to the roof of the building, she sings a wistful song that indicates she and Oscar "once had a child". Oscar leaves her and, avoiding the male partner on the staircase, returns to his limo. When he sees that Eva and the partner have jumped to their deaths from the top of the building, he lets out an anguished cry and runs past them and directly back into the limo as he does so. plays a man whose wife and children are chimpanzees. Alone, Céline drives to the Holy Motors garage, which is filled with other limousines. She parks, places a teal mask on her face,[note 1] and leaves. The moment she is gone, the limousines begin to talk to one another, expressing fear that they are outdated and unwanted.

TEOREMA (Pier Paolo Pasolini, 1968)

A mysterious figure known only as "The Visitor" appears in the lives of a typical bourgeois Italian family. His arrival is heralded at the gates of the family's Milanese estate by an arm-flapping postman. The enigmatic stranger soon engages in sexual affairs with all members of the household: the devoutly religious maid, the sensitive son, the sexually repressed mother, the timid daughter and, finally, the tormented father. The stranger gives unstintingly of himself, asking nothing in return. He stops the passionate maid from committing suicide with a gas hose and tenderly consoles her; he befriends and sleeps with the frightened son, soothing his doubts and anxiety and endowing him with confidence; he becomes emotionally intimate with the overprotected daughter, removing her childish innocence about men; he seduces the bored and dissatisfied mother, giving her sexual joy and fulfillment; he cares for and comforts the despondent and suffering father, who has fallen ill. Then one day the herald returns and announces that the stranger will soon leave the household, just as suddenly and mysteriously as he came. In the subsequent void of the stranger's absence, each family member is forced to confront what was previously concealed by the trappings of bourgeois life. The maid returns to the rural village where she was born and is seen to perform miracles; ultimately, she immolates herself by having her body buried in dirt while shedding ecstatic tears of regeneration. The mother seeks sexual encounters with young men; the son leaves the family home to become an artist; the daughter sinks into a catatonic state; and the father strips himself of all material effects, handing his factory over to its workers, removing his clothes at a railway station and wandering naked into the wilderness, where he finally screams in primal rage and despair. It has been cited, incorrectly, as being remade as Down and Out in Beverly Hills. Though there are similar themes, the latter is inspired by a much older stage play from around 1932.

DIRTY HARRY (Don Siegel, 1971)

A psychopathic sniper, later referred to as "Scorpio", shoots a woman while she swims in a San Francisco skyscraper rooftop pool. He leaves behind a threatening letter demanding he be paid $100,000 or he will kill more people. The note is found by SFPD Inspector Harry Callahan. The mayor teams up with the police to track down the killer, although to stall for time, he agrees to Scorpio's demand over Callahan's objections. During his lunch break, Harry foils a bank robbery. He shoots one robber dead, and holds another at gunpoint with his Smith & Wesson Model 29 revolver, bluffing him to surrender with an ultimatum: I know what you're thinking: 'Did he fire six shots or only five?' Well, to tell you the truth, in all this excitement, I've kinda lost track myself. But being this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do you, punk? Harry is assigned a rookie partner, Chico Gonzalez, against his opposition to working with another inexperienced police officer. Meanwhile, Scorpio is spotted by a police helicopter near Saints Peter and Paul Church as he is staking out potential victims, but escapes. Harry and Gonzalez are unsuccessful in finding him, and Harry is beaten after being mistaken for a peeping tom. After assisting in preventing a suicide, Harry and Gonzalez learn that Scorpio has murdered a 10-year-old African-American boy. Based on his letter, the police think that Scorpio's next victim will be a Catholic priest, and set a trap for him. Scorpio eventually arrives, kills a police officer in the shootout that follows, and flees. The next day, the police receive another letter in which Scorpio claims to have kidnapped a teenager named Ann Mary Deacon. He threatens to kill her if he is not given a ransom of $200,000. Harry is assigned to deliver the money, wearing a radio earpiece so Gonzalez can secretly follow him. Scorpio instructs Harry via payphones to run around the city. They meet at the Mount Davidson cross, where Scorpio beats Harry and admits he intends to kill him and let Ann Mary die. Gonzalez intervenes, and gets shot in the chest. Harry uses a concealed knife to stab Scorpio in the leg, but he escapes. Harry learns of Scorpio's hospital visit and a doctor reveals to him that the killer lives in a room at Kezar Stadium. Harry finds him there and chases Scorpio, shooting him in the leg. Harry tortures Scorpio into confessing where Ann Mary is being held, but the police only find her corpse. The district attorney reprimands Harry for his conduct, explaining that because Harry obtained his evidence against Scorpio (namely a rifle in Scorpio's possession) illegally, all of it is inadmissible in court and Scorpio is to be released as a free man. An outraged Harry continues to shadow Scorpio on his own time. Scorpio pays a man $200 to beat him severely and frames Harry for it, forcing Harry to stop following him. Meanwhile, Gonzalez tells Harry he's not cut out for police work and plans to become a teacher instead. Scorpio steals a pistol from a liquor store owner and hijacks a school bus. He contacts the police with another ransom demand that includes a flight out of the Santa Rosa airport. Harry waits for him, then jumps onto the roof of the bus from an overpass. Scorpio crashes the bus into a dirt mound and flees to a nearby quarry, where he takes a hostage before Harry wounds him with a fast-draw. Harry aims his revolver and reprises his ultimatum about losing count of his shots. Scorpio reaches for his gun, but Harry shoots and kills him with his last bullet and removes his police badge, throws it in the nearby water, and walks away.

HIROSHIMA MON AMOUR (Alain Resnais, 1959)

A series of closeups of the backs and arms of a man and woman embracing, amidst falling ash and then covered in sweat. In voiceover, the woman recounts the aftermath of the atomic bombing of Hiroshima that she has seen on her trip to the city, while newsreel and fictional footage of victims, protests, war memorials, and the streets and buildings of modern Hiroshima are shown. The man calmly says the woman has not seen anything, nor does she know what it is to forget. He is from Hiroshima and his family died in the bombing while he was off fighting in the war, and the woman is a French actress who is in the city to make an anti-war film. In the morning, the woman watches the man sleep. His twitching hand reminds her of her first love, a soldier whose hand moved similarly as he lay dying. The Japanese man wakes, and it becomes clear he and the woman met the previous night at a café. She learns he is an architect who is involved in politics. They discuss the bombing and the end of the war, and he is enchanted by the word "Nevers", her hometown, to which she never wants to return. The man says he would like to see the woman again, but she says she is flying back to Paris the next day. Neither this nor the revelation that she has children change how he feels, but she, though torn, repeatedly declines to arrange another meeting. The man visits the woman at the filming location, and she is happy to see him. He takes her back to his house. She asks if he lives alone, and he replies that his wife is out of town for a few days. They both say they are happy in their marriages, though they have had casual affairs before, and make love again. After deciding to spend the woman's remaining time in Hiroshima together, they go to a tea room, where the man asks the woman to tell him more about Nevers and her life there. Intercut with flashbacks, she tells how she and an occupying German soldier fell in love and planned to elope to Bavaria before he was shot while waiting for her on the day Nevers was liberated, how she stayed with him while he died over the next two days, how the villagers shaved her head when they found out about the relationship, and how her parents locked her alternately in her room and the cellar while her hair grew out and she came out of her madness and then sent her away to Paris just before Hiroshima was bombed. She tries to convey the pain she feels about forgetting the German and their love, and indicates she has been trying to keep her distance from the Japanese man because she does not want any more such heartbreak. The man is elated when he learns the woman never told her husband about the German, but, when they leave the tea room, she tells him to go away and that they will probably never see each other again. In her hotel room, she feels guilty about telling the man about the German, but decides to stay in Hiroshima. She goes back to the now-closed tea room, and the man finds her and asks her to stay. She weakly says she will, but then tells him again to go away. They walk around the city, together and separately, images of Hiroshima alternating with images of Nevers. The woman goes to a train station, where she lets go of some of her issues surrounding her first love and decides she might like to visit Nevers. She takes a cab to a nightclub, the man following. The place is nearly empty and they sit apart. As the sun rises, a Japanese man sits by the woman and hits on her in English. Back in the woman's hotel room, the architect knocks at the door. She lets him in and yells that she is already starting to forget him, but abruptly calms and says his name is "Hiroshima". He responds that it is, and her name is "Nevers".

MEEK'S CUTOFF (Kelly Reichardt, 2010)

A small group of settlers travelling across the Oregon High Desert in 1845 suspect that their guide, Stephen Meek, may not know the area well enough to plot a safe and certain route. A journey that was supposed to take two weeks, via what became known as the Meek Cutoff, stretches into five. With no clear sense of where they are going, tensions rise as water and food run low. The wives look on, unable to participate in the decision making, as their husbands discuss how long they should continue to follow Meek. The dynamics of power shift when they capture a lone native and hold him in the hope he will lead them to a source of water, despite Meek's wish to kill him at once. Meek argues that the native cannot be trusted, but the group by now have no confidence in Meek. Later, when Meek prepares to shoot the native, Mrs. Tetherow intervenes. In the end, after the group encounters the positive sign of a tree, Meek submits to majority opinion. The fate of the group is left ambiguous as the native continues to walk on.

HIGH AND LOW (Akira Kurosawa, 1963)

A wealthy executive named Kingo Gondo (Toshiro Mifune) is in a struggle to gain control of a company called National Shoes. One faction wants the company to make cheap, low quality shoes for the impulse market as opposed to the sturdy and high quality shoes currently being produced. Gondo believes that the long-term future of the company will be best served by well made shoes with modern styling, though this plan is unpopular because it means lower profits in the short term. He has secretly set up a leveraged buyout to gain control of the company, mortgaging all he has. Just as he is about to put his plan into action, he receives a phone call from someone claiming to have kidnapped his son, Jun. Gondo is prepared to pay the ransom, but the call is dismissed as a prank when Jun comes in from playing outside. However, Jun's playmate, Shinichi, the child of Gondo's chauffeur, is missing and the kidnappers have mistakenly abducted him instead. In another phone call the kidnapper reveals that he has discovered his mistake but still demands the same ransom. Gondo is now forced to make a decision about whether to pay the ransom to save the child or complete the buyout. After a long night of contemplation Gondo announces that he will not pay the ransom, explaining that doing so would not only mean the loss of his position in the company, but cause him to go into debt and throw the futures of his wife and son into jeopardy. His plans are weakened when his top aide lets the "cheap shoes" faction know about the kidnapping in return for a promotion should they take over. Finally, under pressure from his wife and the chauffeur, Gondo decides to pay the ransom. Following the kidnapper's instructions, the money is put into two small briefcases and thrown from a moving train; Shinichi is found unharmed. Gondo is forced out of the company and his creditors demand the collateral in lieu of debt. The story is widely reported however, making Gondo a hero, while the National Shoe Company is vilified and boycotted. Meanwhile, the police eventually find the hideout where Shinichi was kept prisoner. The bodies of the kidnapper's two accomplices are found there, killed by an overdose of heroin. The police surmise that the kidnapper engineered their deaths by supplying them with uncut drugs. Further clues lead to the identity of the kidnapper, a medical intern at a nearby hospital, but there is no hard evidence linking him to the accomplices' murders. The police lay a trap by first planting a false story in the newspapers implying that the accomplices are still alive, and then forging a note from them demanding more drugs. The kidnapper is then apprehended in the act of trying to supply another lethal dose of uncut heroin to his accomplices, after testing the strength on a drug addict who overdoses and dies. Most of the ransom money is recovered, but too late to save Gondo's property from auction. With the kidnapper facing a death sentence, he requests to see Gondo while in prison and Gondo finally meets him face to face. Gondo has gone to work for a rival shoe company, earning less money but enjoying a free hand in running it. The kidnapper at first feigns no regrets for his actions. As he reveals that envy from seeing Gondo's house on the hill every day led him to conceive of the crime, his emotions gradually gain control over him and he ends up breaking down emotionally before Gondo after finally facing his failure.

L'ARGENT (Robert Bresson, 1983)

A young man, Norbert, enters his father's study to claim his monthly allowance. His father obliges, but Norbert presses for more, citing a debt he owes a schoolmate. The father dismisses him, and an appeal to his mother fails. Norbert tries to pawn his watch to a friend, who instead gives him a forged 500-franc note. The boys take the counterfeit to a photo shop and use it to purchase a picture frame. When the store's co-manager finds out, he scolds his partner for her gullibility. She chides him in return for having accepted two forged notes the previous week. He then decides to pass off all three forged notes at the next opportunity. He uses them to pay Yvon for delivering heating oil. Yvon tries to pay his restaurant tab with the forged notes, but the waiter recognizes them as counterfeit. Yvon is arrested, and the photo shop people lie at his court trial. Yvon avoids jail time, but he loses his job. One of the owners of the photo shop recognizes Norbert on the street with a group of his school friends, and she approaches the school authorities and accuses him to them. When the Chaplain quizzes some of the students about the counterfeit bills, Norbert leaves the classroom. At home, his mother advises him to deny everything, and she goes to the photo shop with a bribe for the owners to let the matter rest. Lucien, the photo shop assistant who committed perjury for his employers at the trial by refusing to recognize Yvon, is revealed to have been marking up prices while his employers are out of the shop and pocketing the difference. His scam is discovered, and he is fired, but he keeps a copy of the shop's keys. He and two friends rob the shop's safe and begin an ATM card skimming operation. In need of money, Yvon acts for a friend as the driver of a getaway car for bank robbers. The police foil the robbery and arrest Yvon, who is tried and sentenced to three years in prison. While there, Yvon learns of his daughter's death and his wife's decision to start a new life without him. He unsuccessfully attempts suicide. Lucien and his accomplices are eventually caught and arrested, and Lucien is sent to the same prison as Yvon. Lucien offers to include Yvon in a prison break attempt, but Yvon refuses. Yvon blames Lucien for his troubles and wants revenge. Lucien proceeds with his escape plan, but Yvon and his cellmate hear commotion in the hallway that indicates that Lucien has been caught. Yvon's cellmate speculates that Lucien will probably be transferred to a more severe maximum-security prison. After being released from prison, Yvon murders and robs a pair of hotel keepers. He is taken in by a kind woman over the objection of her father. Some time passes, and one night Yvon kills them along with others in their house with an axe. He goes to a café, confesses to a police officer, and is arrested.

WENDY AND LUCY (Kelly Reichardt, 2008)

A young woman, Wendy Carroll, is traveling to Alaska with her dog Lucy, where she hopes to find work at a cannery. They become stranded in Oregon when their car breaks down, and she lacks the funds to repair it. At a supermarket, she leaves Lucy outside while she attempts to shoplift dog food. After a meeting with the store clerk and the manager, Wendy is apprehended and taken to the police station. After paying a fine, Wendy is released from police custody. She hurries to the grocery store, but Lucy is gone. After many failed efforts to track Lucy down, with the help of a security guard, she discovers that Lucy has been taken to a dog pound and rehomed. When Wendy visits the mechanic to pick up her car, she learns her engine needs to be rebuilt, which would exceed the car's worth. Abandoning her car and nearly penniless, Wendy goes to the home where Lucy lives. She tearfully promises to return and departs on a Northbound train.

CHELSEA GIRLS (Andy Warhol, 1966)

According to scriptwriter Ronald Tavel, Warhol first brought up the idea for the film in the back room of Max's Kansas City, Warhol's favorite nightspot, during the summer of 1966. In Ric Burns' documentary film Andy Warhol, Tavel recollected that Warhol took a napkin and drew a line down the middle and wrote 'B' and 'W' on opposite sides of the line; he then showed it to Tavel, explaining "I want to make a movie that is a long movie, that is all black on one side and all white on the other." Warhol was referring to both the visual concept of the film, as well as the content of the scenes presented. The film was shot in the summer and early autumn of 1966 in various rooms and locations inside the Hotel Chelsea, though contrary to the film's title, only poet René Ricard actually lived there at the time.[4] Filming also took place at Warhol's studio The Factory. Appearing in the film were many of Warhol's regulars, including Nico, Brigid Berlin, Gerard Malanga, Mary Woronov as Hanoi Hannah, Ingrid Superstar, International Velvet and Eric Emerson. According to Burns' documentary, Warhol and his companions completed an average of one 33-minute segment per week. Nico (left) and Ondine (right) in the final scene of Chelsea Girls. This still comes from the 2003 Italian DVD print of the film. Once principal photography wrapped, Warhol and co-director Paul Morrissey selected the 12 most striking vignettes they had filmed and then projected them side by side to create a visual juxtaposition of both contrasting images and divergent content (the so-called "white" or light and innocent aspects of life against the "black" or darker, more disturbing aspects.) As a result, the 6.5 hour running time was essentially cut in half, to 3 hours and 15 minutes. However, part of Warhol's concept for the film was that it would be unlike watching a regular movie because the two projectors could never achieve exact synchronization from viewing to viewing; therefore, despite specific instructions of where individual sequences would be played during the running time, each viewing of the film would, in essence, be an entirely different experience. Several of the sequences have gone on to attain a cult status, most notably the "Pope" sequence, featuring avant-garde actor and poet Robert Olivo, or Ondine as he called himself, as well as a segment featuring Mary Woronov titled "Hanoi Hannah," one of two portions of the film scripted specifically by Tavel. Notably missing is a sequence Warhol shot with his most popular superstar Edie Sedgwick which, according to Morrissey, Warhol excised from the final film at the insistence of Sedgwick, who claimed she was under contract to Bob Dylan's manager Albert Grossman at the time the film was made. Sedgwick's footage was used in the Warhol film Afternoon.

IN A YEAR WITH 13 MOONS (Rainer Werner Fassbinder, 1978)

After a breakup, Elvira, a transgender woman who has made an enormous sacrifice for love, struggles to reconcile her past life with her present identity. She recalls her religious childhood, her work as a butcher and her encounter with Anton, a former lover who completely changed her life.

THE EXTERMINATING ANGEL (Luis Buñuel, 1962)

After a night at the opera, Edmundo and Lucía Nóbile are having 18 wealthy acquaintances over for a dinner party at their lavish mansion. The servants inexplicably begin to leave as the guests are about to arrive and, by the time the meal is over, only Julio, the majordomo, is left. Lucía cancels a planned surprise involving a bear and three sheep upon discovering that guest Sergio Russell does not like jokes, but there are a few strange occurrences, such as the guests somehow entering the mansion and going upstairs twice, Edmundo repeating his toast to the opera singer Silvia, and Cristián Ugalde and Leandro Gomez greeting each other three times (as strangers, cordially, and antagonistically). The guests mingle before adjourning to the salon to listen to Blanca play a piano sonata by Paradisi. When she finishes, she says she is tired, and several other guests indicate they are about to go home, but no one does. Instead, without discussing it, the guests and hosts settle in and spend the night on the couches, chairs, and floor of the salon, preventing Lucía from sneaking off for a tryst with Colonel Alvaro Aranda, while Julio sleeps at the table in the dining room. In the morning, it is discovered that Sergio is unconscious. The hosts and some of the guests wonder why no one attempted to leave the night before. A few guests try to exit the salon, but they all turn back or become distressed and stop before crossing the threshold. When Julio brings some leftovers for breakfast, he is trapped as well. Patricia Morán and Ofelia Montesco in a publicity still for the film By that evening, everyone is on edge. They are using a closet as a toilet and have run out of clean water. Raúl blames Eduardo for their plight, but Leticia defends the host. Sergio dies during the night, and Dr. Carlos Conde and Alvaro put the corpse in a closet to prevent the sight of it from further worrying their peers. A crowd of onlookers, police, and soldiers gathers outside the gates of the mansion over the following days and finds no one is able to enter, though there is no physical barrier. The trapped individuals get water by tapping into a pipe in the wall, but their good manners continue to deteriorate. A growing number of them become ill, and Dr. Conde has no medicine, until Edmundo shows him a stash of opiates, which some of the guests sneak for themselves. At a particularly heated moment, the trapped group sees the three sheep and bear roaming the mansion. The sheep wander into the salon, where they are caught and roasted on a fire in the middle of the room. While the food calms things down somewhat, it does little to raise spirits, and Eduardo and Beatriz, a young engaged couple, kill themselves in a closet. One night, all of the Nóbiles's servants are drawn back to the mansion. Inside, Raúl has convinced most of the other guests that their predicament will end if Edmundo dies. Dr. Conde attempts to reason with them, and a fight breaks out, the doctor assisted by Alvaro and Julio. Edmundo and Leticia come out of the curtained-off area they have begun to inhabit (Lucía is now openly with Alvaro), and Edmundo offers to take his own life. He gets a small pistol he had hidden, but Leticia tells him to wait. She says all of the people and furniture are in the same spot as the night of the party, and has Blanca play the end of the piano sonata and everyone repeat the conversation that followed. This time, when Blanca says she is tired, the group finds they can leave the salon, and then the mansion. The members of the small crowd outside see them exit and are able to pass through the gates to greet them. To give thanks for their salvation, most of the group from the salon attend a Te Deum service. Afterward, neither the clergy, nor the churchgoers, can leave the cathedral. Some time later, the military fires on a group of people and drives them away from the cathedral gates. A flock of sheep enters the building as the screams and gunshots continue.

THE GRADUATE (Mike Nichols, 1967)

After earning his bachelor's degree from an East Coast college, Benjamin Braddock returns to his parents' Pasadena, California home. During his graduation party, he is urged to join a business dealing in plastics—the material of the future. Benjamin cringes as his parents are fulsome in their praise of him during the party and retreats to his bedroom until Mrs. Robinson, the wife of his father's law partner, insists that he drive her home. Once there, she tries to seduce him. He initially resists her advances, but his failed attempts to connect with his parents make him feel isolated. Desperate for any kind of connection, he invites Mrs. Robinson to the Taft Hotel, where he registers under the pseudonym "Mr. Gladstone". Benjamin spends the summer floating in his parents' pool by day and meeting Mrs. Robinson at the hotel by night. During one of their trysts, Mrs. Robinson reveals that her loveless marriage resulted when she accidentally became pregnant with her daughter, Elaine. When Benjamin jokingly suggests that he date Elaine, Mrs. Robinson angrily forbids it. However, Benjamin's parents, unaware of the affair, are eager for their son to date Elaine and relentlessly pester him to ask her out, as does Mr. Robinson. Benjamin gives in and reluctantly takes Elaine on a date. When he sees how upset Mrs. Robinson is, Benjamin attempts to sabotage his date by ignoring Elaine, driving recklessly, and taking her to a strip club. She flees the club in tears, but Benjamin, feeling remorseful, runs out after her, apologizes, and kisses her. They eat at a drive-in restaurant, where they bond over their shared uncertainty about their future plans. After they visit the Taft Hotel for a late-night drink and the staff greet Benjamin as "Mr. Gladstone", Elaine deduces that Benjamin is having an affair with a married woman. Benjamin swears that the affair is over and makes plans for another date with Elaine for the following day. To prevent Benjamin from dating Elaine, Mrs. Robinson threatens to tell Elaine about their affair. To thwart this, Benjamin reveals to Elaine that the married woman is her mother. Elaine is so upset that she refuses to see Benjamin again and returns to school at Berkeley. Benjamin follows her to Berkeley hoping to regain her affections. Elaine initially rejects him and briefly dates medical student Carl Smith, but then learns that her mother lied to her when she claimed that Benjamin raped her, and the pair reconcile. Benjamin pushes for an early marriage, but Elaine is uncertain despite her feelings for him. Later, an angry Mr. Robinson arrives at Berkeley and confronts Benjamin in his boardinghouse room, where he informs him that he and his wife will be divorcing soon, and threatens to have Benjamin jailed if he continues to see Elaine. He then forces Elaine to leave college to marry Carl. Benjamin drives back to Pasadena and breaks into the Robinson home in search of Elaine. Instead, he finds Mrs. Robinson who calls the police and claims that her house is being burglarized. She then tells Benjamin that he cannot prevent Elaine's marriage to Carl. Before the police can arrest him, Benjamin flees the Robinson home and drives back to Berkeley. There, he visits Carl's fraternity and discovers from one of Carl's fraternity brothers that the wedding will take place in Santa Barbara that day. He rushes towards the area near the church, when his Alfa Romeo runs out of gas, causing him to jog towards the church, and he arrives just as the ceremony ends. Benjamin's desperate appearance on the glass church gallery stirs Elaine into defying her mother and fleeing the sanctuary. Benjamin fights off Mr. Robinson and repels the wedding guests by swinging a large cross, which he uses to barricade the church doors, trapping them inside. Elaine and Benjamin escape aboard a bus and sit among startled passengers. As the bus drives on, their ecstatic smiles slowly fade away as they begin to look toward an uncertain future.

VERTIGO (Alfred Hitchcock, 1958)

After a rooftop chase in which a fellow policeman falls to his death, San Francisco detective John "Scottie" Ferguson retires out of fear of heights and vertigo. Scottie tries to conquer his fear, but his ex-fiancée, underwear designer Marjorie 'Midge' Wood, says that another severe emotional shock may be the only cure. Gavin Elster, an acquaintance from college, asks Scottie to follow his wife, Madeleine, claiming that she has been behaving strangely and her mental state is abnormal. Scottie reluctantly agrees and follows Madeleine to a florist, where she buys a bouquet, to the Mission San Francisco de Asís and the grave of Carlotta Valdes (1831-1857), and to the Legion of Honor art museum, where she gazes at the Portrait of Carlotta. He watches her enter the McKittrick Hotel, but upon investigation, she does not seem to be there. A local historian explains that Carlotta Valdes committed suicide: she had been the mistress of a wealthy married man and borne his child; the otherwise childless man kept the child and cast Carlotta aside. Gavin reveals that Carlotta (who he fears is possessing Madeleine) is Madeleine's great-grandmother, although Madeleine has no knowledge of this and does not remember the places she has visited. Scottie tails Madeleine to Fort Point and when she leaps into the bay, he rescues her. The next day, Madeleine stops to deliver a letter of gratitude to Scottie, and they decide to spend the day together. They travel to Muir Woods and Cypress Point on 17-Mile Drive, where Madeleine runs down towards the ocean. Scottie grabs her and they embrace. The following day, Madeleine visits Scottie and recounts a nightmare. Scottie identifies its setting as Mission San Juan Bautista, the childhood home of Carlotta. He drives her there and they express their love for each other. Madeleine suddenly runs into the church and up the bell tower. Scottie, halted on the steps by his acrophobia, sees Madeleine plunge to her death. The death is declared a suicide. Gavin does not fault Scottie, but Scottie breaks down, becomes clinically depressed and is sent to a sanatorium, almost catatonic. Following his release, Scottie frequents the places that Madeleine visited, often imagining that he sees her. One day, he notices a woman on the street who reminds him of Madeleine, despite her different appearance. Scottie follows her to her hotel room, where she identifies herself as Judy Barton, from Salina, Kansas. Judy has a flashback revealing that she was the person Scottie knew as "Madeleine Elster." She was impersonating Gavin's wife in an elaborate murder scheme. Judy drafts a letter to Scottie explaining her involvement: Gavin deliberately took advantage of Scottie's acrophobia to substitute his wife's freshly killed body in the apparent "suicide jump." However, Judy rips up the letter and continues the charade because she loves Scottie. They begin seeing each other, but Scottie remains obsessed with "Madeleine." He asks Judy to change her clothes and dye her hair to resemble Madeleine. After Judy complies, hoping that they may finally find happiness together, he notices her wearing the necklace portrayed in Carlotta's painting. Scottie realizes the truth and insists on driving Judy back again to the Mission. There, he tells her he must re-enact the event that led to his madness, admitting he now understands that "Madeleine" and Judy are the same person, and that Judy was Gavin's mistress before being cast aside, just as Carlotta was. Scottie forces her up the bell tower and makes her admit her deceit. Scottie reaches the top, finally conquering his acrophobia. Judy confesses that Gavin paid her to impersonate a "possessed" Madeleine. Judy begs Scottie to forgive her because she loves him. He embraces Judy, but a shadowy figure — actually a nun investigating the noise — rises from the tower's trapdoor, startling her. Judy suddenly lunges backward and accidentally falls to her death. Scottie, bereaved once again but cured of his fear of heights, stands on the ledge while the nun rings the mission bell.

THE LONG GOODBYE (Robert Altman, 1973)

After looking for cat food at a supermarket, Philip Marlowe discovers his close friend, Terry Lennox, in his home. Lennox asks for a lift from Los Angeles to the California-Mexico border at Tijuana, which Marlowe obliges. On returning home again, Marlowe is met by two police detectives who ask questions about Lennox and then arrest Marlowe because he refuses to answer any questions. During questioning, Marlowe learns that Lennox has been accused of killing his wife, Sylvia. After he is jailed for three days, the police release him, because they have learned that Lennox has committed suicide in Mexico. The police and the press seem to believe it is an obvious case, but Marlowe does not accept the official facts. Marlowe is then hired by Eileen Wade, who asks him to find her missing husband Roger Wade, an alcoholic novelist with writer's block whose macho, Hemingway-like persona is proving self-destructive, resulting in days-long disappearances from their Malibu Colony home. While investigating Eileen's missing husband, Marlowe visits the subculture of private detoxification clinics for rich alcoholics and drug addicts. He locates and recovers Roger and learns that the Wades knew the Lennoxes socially, and suspects that there is more to Lennox's suicide and Sylvia's murder. Marlowe later incurs the wrath of gangster Marty Augustine, who wants money returned that Lennox was sent to deliver to Mexico City, and threatens Marlowe by maiming his own mistress. After a side-trip to Mexico, where officials corroborate the details of Lennox's death, Marlowe returns to the Wade house. A party breaks up after an argument over Roger's unpaid bill from the detoxification clinic. Later that night, Eileen and Marlowe are interrupted when she sees a drunken Roger wandering into the sea; before they can stop him, he vanishes into the ocean and is presumed to have drowned by police. Eileen confesses that Roger had been having an affair with Sylvia, and might have killed her. Marlowe tells this to the police, who tell him that they already knew that Roger Wade had met with Sylvia Lennox before going to the clinic. Marlowe is then brought to a meeting with Augustine, and threatened before his missing money is returned by someone else. While leaving, Marlowe sees Eileen driving away in her open topped Mercedes-Benz 450SL. While running after her, he is struck by a car and hospitalized. Waking up, he is given a harmonica by the heavily-bandaged patient in the next bed. Returning to Malibu, he finds the Wade house being packed up by a real estate company and Eileen gone. He returns to Mexico, where he bribes local officials into revealing that they had been paid to fake Terry Lennox's death of an apparent suicide. Marlowe finds Terry in a Mexican villa, who admits to killing Sylvia and reveals that he is having an affair with Eileen. Roger had discovered the affair and disclosed it to Sylvia, after which Terry killed her in the course of a violent argument. Terry gloats that no one cares about the case since he is legally dead, causing Marlowe to fatally shoot Terry. As Marlowe walks away, he passes Eileen, who is on her way to meeting Terry. Marlowe pulls out his harmonica and plays it while strolling jauntily down the road.

AMOUR (Michael Haneke, 2012)

After residents of a Paris apartment building complain of a smell coming from one of the apartments, a brigade of firemen and police break down its door to find the corpse of Anne (Emmanuelle Riva) lying on a bed, adorned with cut flowers. Several months before the opening scene, Anne and her husband Georges (Jean-Louis Trintignant), both retired piano teachers in their eighties, attend a performance by one of Anne's former pupils, Alexandre. They return home to find that someone has unsuccessfully tried to break into their apartment. The next morning, while they are eating breakfast, Anne silently has a stroke. She sits in a catatonic state, not responding to Georges. She comes around as Georges is about to get help, but has no idea the stroke occurred. Georges is unable to persuade her to get medical attention until Anne finds she is unable to pour herself a drink. Anne undergoes surgery on a blocked carotid artery, but the surgery goes wrong, leaving her paralyzed on her right side and reliant on a wheelchair. She makes Georges promise not to send her back to the hospital or to a nursing home. Georges becomes Anne's dutiful, though slightly irritated, caretaker. One day, Anne, seemingly having attempted to commit suicide by falling from a window, tells Georges she doesn't want to go on living. Alexandre, her former pupil whose performance they attended, stops by and Anne gets dressed up and carries on a lively conversation during the visit, giving Georges hope that her condition was temporary. But she soon has a second stroke that leaves her demented and incapable of coherent speech. Georges continues to look after Anne, despite the strain it puts on him. Georges begins employing a nurse three days a week. Their daughter, Eva (Isabelle Huppert), wants her mother to go into care, but Georges says he will not break the promise he made to Anne. He employs a second nurse, but fires her after he discovers she is mistreating Anne. One day, Georges sits next to Anne's bedside and tells her a story of his childhood, which calms her. As Anne closes her eyes, he quietly picks up a pillow and smothers her. Georges returns home with bundles of flowers in his hands, which he proceeds to wash and cut. He picks out a dress from Anne's wardrobe and writes a long letter. He tapes the bedroom door shut and catches a pigeon that has flown in through the window. In the letter, Georges explains that he has released the pigeon. Georges imagines that Anne is washing dishes in the kitchen and, speechless, he gazes at her as she cleans up and prepares to leave the house. Anne calls for Georges to bring a coat, and he complies, following her out of the door. The film concludes with a continuation of the opening scene, with Eva seated in the living room after wandering around the now-empty home.

BLOW-UP (Michelangelo Antonioni, 1966)

After spending the night at a doss house, where he has taken pictures for a book of art photos, photographer Thomas is late for a photo shoot with model Veruschka at his studio, which in turn makes him late for a shoot with other models later in the morning. He grows bored and walks off, leaving the models and production staff in the lurch. As he departs the studio, two teenaged girls who are aspiring models ask to speak to him, but Thomas drives off to visit at an antique shop. Wandering into Maryon Park, Thomas takes photos of two lovers. The woman, Jane, is furious at being photographed, and pursues Thomas, demands his film, and ultimately tries to snatch his camera. He refuses and photographs her as she runs away through a meadow. Thomas then meets his agent Ron for lunch, and notices a man following him and looking into his car. Back at his studio, Jane arrives, asking desperately for the film. She and Thomas have a conversation and flirt, but he deliberately hands her a different film roll. She, in turn, writes down a false telephone number and gives it to him. Thomas, curious, makes multiple zooms of the black-and-white film of Jane and her lover. They reveal Jane worriedly looking at a third person lurking in the trees with a pistol. Thomas excitedly calls Ron, claiming his impromptu photo session may have saved a man's life. Thomas is disturbed by a knock on the door, and it is the two girls again, with whom he has a romp in his studio and falls asleep. Awakening, he finds they hope he will photograph them, but he realizes there may be more to the photographs in the park. He tells them to leave, saying, "Tomorrow! Tomorrow!" Further examination of a blurred figure under a bush makes Thomas suspect the man in the park may have been murdered after all, during the time Thomas was arguing with the woman around the bend. As evening falls, the photographer goes back to the park and finds the body of the man, but he has not brought his camera and is scared off by the sound of a twig breaking, as if being stepped on. Thomas returns to find his studio ransacked. All the negatives and prints are gone except for one very grainy blowup of what is possibly the body. After driving into town, he sees the woman and follows her into a club where The Yardbirds, featuring both Jimmy Page and Jeff Beck on guitar and Keith Relf on vocals, are seen performing the song "Stroll On". A buzz in Beck's amplifier angers him so much, he smashes his guitar on stage, then throws its neck into the crowd. A riot ensues. The photographer grabs the neck and runs out of the club before anyone can snatch it from him. Then, he has second thoughts about it, throws it on the pavement, and walks away. A passer-by picks up the neck and throws it back down, not realizing it is from Beck's guitar. Thomas never locates the elusive woman. At a drug-drenched party in a house on the Thames near central London, the photographer finds Veruschka, who had told him that she was going to Paris; when confronted, she says she is in Paris. Thomas asks Ron to come to the park as a witness, but cannot convince him of what has happened because Ron is incredibly stoned. Instead, Thomas joins the party and wakes up in the house at sunrise. He returns to the park alone, only to find that the body is gone. Befuddled, Thomas watches a mime troupe perform a tennis match, is drawn to it, after a bit picks up the imaginary ball and throws it back to the two players. As he watches the mime, the sound of the ball being played is heard and his image fades away, leaving only the grass as the film ends.

ROCCO AND HIS BROTHERS (Luchino Visconti, 1960)

After the death of his father, Rocco Parondi, one of the five sons of a poor rural Italian family, travels north from Lucania to join his older brother Vincenzo in Milan, led by the matriarch Rosaria. She is the "hand to which the five fingers belong," and she has a powerful influence on her sons. Presented in five distinct sections, the film weaves the story of the five brothers Vincenzo, Simone, Rocco, Ciro and Luca Parondi as each of them adapts to his new life in the city. Vincenzo, the eldest brother, is already living in Milan when his mother and brothers come to join him expecting to move in with him. An initial scene ensues between the Parondi family and Vincenzo's fiancée Ginetta's family, and the whole Parondi family moves in together. Despite early friction between Rosaria and Ginetta, he soon gets married and starts a family of his own. After settling down, Vincenzo doesn't interact much with the Parondi brothers. Simone, the second brother, struggles to adapt to urban life. He becomes attracted to a prostitute named Nadia, who urges him to pursue a career in boxing, which his mother also encourages, as a fast way to reach fame and wealth. Nadia, after initially pursuing Vincenzo only to find him happy in his new family life, turns her interest to Simone. Simone falls in love with Nadia and demands far more than a casual relationship, but she rejects him. Rocco, the third brother, leaves to complete military service in Turin and meets Nadia, who has just been released from prison for prostitution. His innocence and purity of heart ignites her to give up her way of life and enter an exclusive relationship with him. When Simone learns of this, he attacks Nadia and Rocco with a gang of friends and rapes Nadia to "teach Rocco a lesson". Rocco subsequently sacrifices his relationship with Nadia, telling her that he did not realize how much their relationship hurt his brother. Rocco insists that Nadia return to Simone, and she reluctantly complies. Ciro, the second-youngest brother, perhaps by observing the trials of Simone and Rocco, decides to learn from their mistakes and mimic his brother Vincenzo. Unlike Vincenzo, Ciro still lives with his mother and participates in family matters. To that end, Ciro finds steady work in Milan at an automobile factory and becomes engaged to a local woman from a good family. Rocco often acts to preserve the well-being of family members at some cost to his own happiness. He continues a boxing career without enjoying it to provide for his family and he covers for Simone in a myriad of ways, such as returning an expensive brooch that Simone stole from Rocco's boss. After Simone loses the ability to compete as a boxer, because of his obsession with Nadia, his alcoholism, and dissolute lifestyle, Rocco agrees to sign a long term boxing contract in order to pay back money that Simone squandered and cannot repay. While Rocco fights and wins a championship bout, Simone kills Nadia in a jealous rage when she returns to prostitution and refuses to return to him. As the family celebrates Rocco's victory, he shares an anecdote about masons, who, at the start of erecting a building, sacrifice a brick by throwing it into the shadow of the first passerby to ensure the structure will be sound and endure. Rocco's own habit of sacrificing his money and well-being can be likewise analogized, as attempts to preserve his family after their upheaval from country life. Simone arrives at the apartment and confesses to Nadia's murder. Despite his anguish, Rocco tries to protect Simone, but Ciro refuses to go along and leaves to turn Simone in to the police. The youngest brother, Luca, does little but watch quietly in the background most of the time. By the end of the film he wants to return with Rocco to the south, despite spending the least time in southern Italy before the family moved to Milan. In one of the last scenes Ciro speaks to Luca outside his factory and tells him that Rocco won't return there, though he might, but will not find the south the same under the pressure of inevitable progress, and, though many people fear a changing world, he does not and believes that Luca will benefit from the changes.

BY THE BLUEST OF SEAS (Boris Barnet, 1936)

After their ship is capsized by a storm in the Caspian Sea, sailor Yussuf and mechanic Alyosha cling to the wreckage. On their third day adrift, the castaways are rescued by fishermen. Taken to a nearby island off the coast of Soviet Azerbaijan, Yussuf and Alyosha are welcomed into the local Lights of Communism collective farm. The two men are smitten by a woman named Mariya. As Alyosha explores the island, he separates from his friend and happens across Mariya alone. Introducing themselves, each is in for a surprise. Mariya is, in fact, a leader of the collective. She is delighted to learn of Alyosha's profession, as all of the island's mechanics have left to serve in the Pacific Fleet. In their absence, Mariya had feared that the collective's fishing operations would have been disrupted. Alyosha promises to stay for the entire season, and going off to inspect a motor boat together, the two engage in flirtatious behavior. However, Yussuf soon joins the pair and grows jealous. As time passes, Alyosha and Yussuf prove their usefulness. They venture out on all of the collective's fishing expeditions, until one day, Alyosha claims heart sickness. Yussuf is incredulous. Unable to coax his friend along, Yussuf leaves Alyosha behind. As soon as the boat sets out however, Alyosha leaves the island on his own, having faked the illness. He goes to a nearby town, and that night, brings gifts back to Mariya. When Yussuf discovers this act of deceit, he condemns his friend before a public gathering. On their final day at sea, Alyosha acknowledges his disgrace and concedes that Yussuf should be the one to marry Mariya. Yussuf takes joy in this and proclaims his intent to do so. However, when he realizes that his friend has not truly let go of Mariya, he backs down out of pity. An argument erupts between the two in the ship's cabin. Meanwhile, a violent storm is brewing outside. Mariya, who has been on the top deck, is knocked overboard. Although Alyosha dives in after her, and is soon followed by Yussuf, neither is able to find her. She has been swept away. Back on shore, Yussuf and Alyosha silently mourn for their lost loved one, until noticing that she has been carried back by the waves. Maryia had been wearing a life preserver. She is unharmed. The three burst in on what had been her premature funeral, turning it into a celebration. While Yussuf is being detained by the peoples' gratitude, Alyosha takes advantage of the situation to slip away with Mariya. Alone together, he professes his love for her, and yet is faced with rejection. Dismayed, he leaves before Mariya is able to offer an explanation. Alyosha then comes across Yussuf, and supposing that Mariya must love his friend instead, sullenly tells Yussuf that he should go to her. However, Yussuf is met with heartbreak as well. Mariya, it turns out, already has a fiancé, who is serving in the Pacific Fleet. She entreats Yussuf to imagine himself being called into service by commanding military officer Kliment Voroshilov, and how devastating it would be to discover that the woman he loves has grown tired of awaiting his return. Although Yussuf declares that this revelation does nothing to temper his passionate feelings, he acknowledges the virtue in Mariya's decision to remain faithful to her fiancé. Walking down to the beach, they see that a grief-stricken Alyosha has begun to set out for sea, preparing to return home alone. Yussuf calls out to his friend and joins him for the voyage. Upon hearing of Mariya's betrothment from Yussuf, Alyosha is at first unsympathetic. However, Yussuf echoes Mariya's entreaty for understanding. In a display of solidarity with Mariya, the two sail away while singing of a woman who awaits her loved one's return from sea.

THE LADY VANISHES (Alfred Hitchcock, 1938)

After visiting the fictional country of Bandrika, English tourist Iris Henderson is returning home to get married, but an avalanche blocks the railway line. The stranded passengers are forced to spend the night at a hotel. In the same predicament are Charters and Caldicott, cricket enthusiasts anxious to see the last days of the Test match in Manchester, and Miss Froy, a governess and music teacher. Miss Froy listens to a folk singer in the street; he is strangled to death by an unseen murderer. That evening, Iris is bothered by a loud noise from the room above hers. It is caused by Gilbert Redman, an ethnomusicologist who plays the clarinet. She attempts to get him removed from the room, but fails after he confronts her. The next morning at the railway station, Iris is hit on the head by a large planter dropped from above. Miss Froy helps her onto the train. Also on board are Charters and Caldicott, Gilbert, lawyer Eric Todhunter and his mistress, who is passing herself off as "Mrs. Todhunter." As a result of her injury, Iris faints. She comes to in a compartment with Miss Froy and several strangers. She joins Miss Froy in the dining car for tea. Soon after, they return to their compartment, where Iris falls asleep. When Iris wakes up, Miss Froy has vanished, and the other passengers deny having seen her. Todhunter pretends not to remember her to avoid drawing attention to his liaison with his mistress. Iris searches for Miss Froy with Gilbert's assistance. Brain surgeon Dr. Hartz says Iris may be suffering from "concussion-related hallucinations." Fearing that any delay would make them miss the cricket match, Charters and Caldicott also claim not to remember Miss Froy. Todhunter's mistress admits to seeing Miss Froy, proving to everyone that she exists. Left to right: Catherine Lacey, Margaret Lockwood and Michael Redgrave with the bandaged patient At the first stop, Dr. Hartz's patient, covered in bandages from tip to toe, is brought aboard on a stretcher and accompanied by a deaf-mute nun. Madame Kummer, dressed exactly like Miss Froy, appears in her place. Now scared that she'll be revealed, Todhunter's mistress says Madame Kummer was Miss Froy. While continuing their search, Iris and Gilbert find Miss Froy's glasses. However, they are attacked by a knife-wielding magician, Signor Doppo, who was in Iris's compartment. They lose the glasses in the chase and the Doppo escapes. After noticing the nun is wearing high-heels, they suspect that Dr. Hartz's patient has been replaced by Miss Froy. Dr. Hartz tells his fellow conspirator, now revealed to be a British woman dressed as a nun, to drug Iris and Gilbert. Convinced they will soon be asleep, Hartz admits to them that he is involved in the conspiracy. The false nun does not follow Hartz's instructions out of loyalty to her fellow countrymen; Gilbert and Iris escape, free Miss Froy and replace her with Madame Kummer. When the train stops near the border, Dr. Hartz discovers the switch. He has part of the train diverted onto a branch line, where soldiers wait. Gilbert and Iris inform their fellow passengers what is happening. A uniformed soldier boards and requests that they all accompany him. They knock him out and take his pistol. Another soldier fires, wounding Charters in the hand. During the ensuing gunfight, Miss Froy tells Gilbert and Iris that she must get away as she is actually a spy. Just in case, she gives them a message (encoded in a tune) to deliver to the Foreign Office in Whitehall—the same tune that the murdered street musician performed for her. Miss Froy then runs into the forest and those on the train are not sure whether or not she is shot. Todhunter attempts to surrender, waving a white handkerchief, and is shot dead. Gilbert and Caldicott then commandeer the locomotive, but the knocked out soldier wakes up and threatens the rest of the guests. The nun escapes through a side door and changes the tracks but is shot in the leg; however, Caldicott and Gilbert manage to pull her up into the train before she is left behind. In London, Charters and Caldicott discover the Test Match has been cancelled due to flooding. Seeing her fiancé from a distance, Iris jumps into a cab with Gilbert. He kisses her. They arrive at the Foreign Office, but in the waiting room Gilbert realizes he cannot remember the vital tune. As they are led into the office, Gilbert and Iris then hear it. The doors open, revealing Miss Froy is playing the tune on a piano.

TABU (F.W. Murnau, 1931)

Aged emissary Hitu arrives by Western sailing ship to the island of Bora Bora, a small island in the South Pacific, on an important mission. He bears a message from the chief of Fanuma to the chief of Bora Bora: a maiden sacred to their gods has died and Reri has been given the great honour of replacing her because of her royal blood and virtue. From this point on, she is tabu: "man must not touch her or cast upon her the eye of desire" upon penalty of death. This is painful news to Reri and the young man Matahi, who love each other. Matahi cannot bear it. That night, he sneaks her off the ship, and the couple escape the island by outrigger canoe. Eventually, they reach a French colony, half dead. They recover quickly, and Matahi becomes the community's most successful pearl diver. They are happy with their new life together. However, Matahi is unfamiliar with the concept of money, so he does not understand the bills and signs for drinks for everyone during a celebration. The local policeman receives a notice from the French government announcing a reward for the return of the couple, but Matahi bribes him with his last pearl. Then, Hitu arrives on the island and sees Reri alone, informing her that she has three days to give herself up or Matahi will be put to death. Without telling Matahi of her meeting with Hitu, Reri decides they must flee once more. However, when Matahi goes to buy tickets on a schooner, the shopkeepers instead take the money as partial payment of his debt. That night, Hitu returns with a spear. Reri first throws herself in front of the sleeping Matahi, then agrees to return to Bora Bora to save his life. When Matahi stirs, Reri pretends to be asleep. Matahi gets up and decides to get money by getting a pearl from a tabu region of the lagoon, a perilous place guarded by a shark that has already taken the life of one diver. While he is away, Reri writes a farewell note, and leaves with Hitu. Matahi manages to get a pearl while fending off the shark. When he returns, however, he finds the note. He swims after Hitu's boat. He manages to grab a rope trailing from the boat, unbeknownst to the sleeping Reri, but Hitu cuts it. Undaunted, Matahi continues swimming after them until he eventually tires and drowns.

DETOUR (Edgar G. Ulmer, 1945)

Al Roberts, an unemployed piano player, is hitchhiking. After getting a ride, he arrives at a roadside diner in Reno, Nevada. Another customer in the diner plays a song on the jukebox, one that disturbs Al, for it reminds him of his former life in New York City. He remembers a time there when he was bitter about squandering his musical talent working in a cheap nightclub. After his girlfriend Sue Harvey, the nightclub's lead singer, quit her job and left to seek fame in Hollywood, he became depressed. After some anguish, Al decided to travel to California to see Sue and marry her. With little money, though, he was forced to hitchhike his way across the country. 1:08:00Play full film; runtime 01:07:57. In Arizona, bookie Charles Haskell Jr. gives Al a ride in his convertible and tells him that he is in luck; he is driving to Los Angeles to place a bet on a horse. During the drive, he has Al pass him pills on several occasions, which he swallows as he drives. That night, Al drives while Haskell sleeps. When a rainstorm forces Al to pull over to put up the convertible's top, he is unable to rouse Haskell. Al opens the passenger-side door and Haskell tumbles out, falling to the ground and striking his head on a rock. Al then realizes the bookie is dead. It is likely that Haskell died earlier from a heart attack, but Al is certain that if he calls the police, they will arrest him for killing Haskell. Al hides the body in the brush. He takes the dead man's money, clothes, and identification, and drives away, intent on abandoning the car near Los Angeles. Al crosses into California and spends a night in a motel. The next day, as he leaves a gas station near Desert Center Airport, he picks up a hitchhiker, who gives her name as Vera. At first, she travels silently with Al, who has identified himself as Haskell, but suddenly challenges his identity and ownership of the car, revealing that she had been picked up by Haskell earlier in Louisiana, but got out in Arizona after he tried to force himself on her. Al tells her how Haskell died, but she blackmails him by threatening to turn him over to the police. She takes the money that Al retrieved from Haskell's wallet and demands whatever money they get by selling the car. In Hollywood, they rent an apartment, posing as Mr. and Mrs. Haskell, to provide an address when they sell the car. When they are about to make the sale, Vera learns from a newspaper that Haskell's wealthy father is near death and a search is under way for his long-estranged son. Vera demands that Al impersonate Haskell and position himself to inherit the estate. Al refuses, arguing that the impersonation would require detailed knowledge he lacks. Back at the apartment, Vera gets drunk and they begin arguing intensely. In a drunken rage, she threatens to call the police and runs into the bedroom with the telephone. She locks the door then falls on the bed and begins to fall asleep, the telephone cord tangled around her neck. From the other side of the door, Al pulls on the cord to try to disconnect the phone. When he breaks down the door, he discovers he has inadvertently strangled Vera. Al gives up the idea of contacting Sue again and returns to hitchhiking. He later finds out that Haskell is wanted in connection with the murder of Vera, "his wife." Back in the diner in Reno where the film opened, he imagines his inevitable arrest.

THE SHOP AROUND THE CORNER (Ernst Lubitsch, 1940)

Alfred Kralik (James Stewart) is the top salesman at a leathergoods shop in Budapest owned by the high-strung Mr. Hugo Matuschek (Frank Morgan). Kralik's coworkers at Matuschek and Company include his friend, Pirovitch (Felix Bressart), a kindly family man; Ferencz Vadas (Joseph Schildkraut), a two-faced womanizer; saleswoman Ilona Novotny (Inez Courtney); clerk Flora Kaczek (Sara Haden); and Pepi Katona (William Tracy), an ambitious, precocious delivery boy. One morning, Kralik reveals to Pirovitch that he's been corresponding anonymously with an intelligent and cultured woman whose ad he came across in the newspaper. Kralik is Mr. Matuschek's oldest and most trusted employee, but lately there has been tension between the two. They get into an argument over Mr. Matuschek's idea to sell a cigarette box that plays "Ochi Chërnye" when opened. After their exchange, Klara Novak (Margaret Sullavan) enters the gift shop looking for a job. Kralik tells her there are no openings, but when she is able to sell one of the cigarette boxes (as a candy box), Mr. Matuschek hires her. However, she and Kralik do not get along. Mr. Matuschek begins to suspect his wife is having an affair as she stays out late and requests money from him. As Christmas approaches, Kralik is preparing to meet his mystery correspondent for a dinner date. The meeting is stalled when Mr. Matuschek demands that everyone stay after work to decorate the shop. Later Kralik is called into Mr. Matuschek's office and is fired. No one in the shop understands Mr. Matuschek's actions are related to his suspicions that Kralik is having an affair with his wife. Later, Mr. Matuschek meets with a private investigator who informs him that his wife is having an affair with one of his employees—Ferencz Vadas. Pepi returns to the shop just in time to prevent Mr. Matuschek from committing suicide. Meanwhile, Kralik arrives at the Cafe Nizza, where he discovers that his mystery woman is Novak. Despite his disappointment, Kralik goes in and talks with her, pretending he is there to meet Pirovitch. In his mind, Kralik tries to reconcile the cultured woman of his letters with his annoying coworker—secretly hoping that things might work out with her. Concerned that Kralik's presence will spoil her first meeting with her "far superior" mystery correspondent, she calls Kralik a "little insignificant clerk" and asks him to leave. Later that night, Kralik goes to the hospital to visit Mr. Matuschek, who offers him a job as manager of Matuschek and Company. Grateful to Pepi for saving his life, Mr. Matuschek promotes him to clerk. The next day, Novak calls in sick after her mystery man failed to show. That night, Kralik visits her at her apartment. During his visit, she receives a letter from her correspondent and reads it in front of Kralik (who wrote the letter). Two weeks later, on Christmas Eve, Matuschek and Company achieves record sales. Kralik and Miss Novak, alone in the shop, talk about their planned dates for the evening and Miss Novak reveals that she had a crush on Kralik when they first met. After pretending to have met Novak's mystery man, Kralik puts a red carnation in his lapel and reveals to her that he is her mystery correspondent and they kiss.

E.T. THE EXTRA-TERRESTRIAL (Steven Spielberg, 1982)

Aliens secretly visit Earth at night to gather plant specimens in a California forest. One of them separates from the group, fascinated by the distant city lights. U.S. government vehicles arrive and chase the startled creature. The other aliens depart, abandoning him on Earth. In a nearby neighborhood in the San Fernando Valley, ten-year-old Elliott Taylor's suspicions are roused when he pitches a baseball into a tool shed, and the ball is rolled back. Later that night, Elliott returns with a flashlight, discovering the creature among the cornstalks. He shrieks and flees the scene. Despite his family's disbelief, Elliott leaves a trail of candy to lure the alien into his house. Before bed, he realizes the alien is imitating his movements. The next morning, Elliott feigns sickness to stay home from school and play with him. He can "feel" the alien's thoughts and emotions, shown when the alien accidentally opens an umbrella, startling him and simultaneously Elliott several rooms away. Later that day, Elliott introduces his older brother Michael and seven-year-old sister Gertie to the alien, deciding to keep him hidden from their mother, Mary. When the children ask the alien about his origins, he shows them by levitating several balls, representing his planetary system, and demonstrates his powers by reviving dead chrysanthemums. He demonstrates his healing power, through his glowing fingertip, on a minor cut on Elliott's finger. Makeshift communicator used by E.T. to phone home. Among its parts is a Speak & Spell, an umbrella lined with aluminum foil, and a coffee can filled with other electronics. At school the next day, Elliott begins to experience a much stronger empathic connection with the alien, including exhibiting signs of intoxication (because the alien is at Elliott's home, drinking beer and watching television) and freeing the frogs in his biology class. As the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man on television, Elliott kisses a girl he likes similarly and is sent to the principal's office. The alien dubs himself "E.T.", reading a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device, and is inspired to try it himself. E.T. gets Elliott's help to build a device to "phone home" by using a Speak & Spell. Michael notices that E.T.'s health is declining and that Elliott is referring to himself as "we". Throughout this, the boys are unaware that E.T. is being tracked by government agents and that all three of them are being spied on. On Halloween night, Michael and Elliott dress E.T. as a ghost to sneak him out. Elliott and E.T. head through the forest, where they successfully call home. The next day, Elliott wakes up in the field, finding E.T. gone. Elliott returns home to his worried family. Michael discovers E.T. dying next to a culvert and takes him home to an also-dying Elliott. Mary becomes horrified upon discovering her son's illness and the dying alien, just as a group of government agents dressed in biohazard suits led by "Keys" invades the house. Scientists set up a lab at the house, asking Michael, Mary, and Gertie what they know about E.T. While the scientists are treating Elliott and E.T., the mental connection between Elliott and E.T. disappears. E.T. appears to die while Elliott recovers. Elliott is carried away, screaming that the doctors are killing E.T. as they try to revive him. When the doctors pronounce E.T. dead, Michael discovers that the chrysanthemums that E.T. previously revived are dying again. As Elliott recovers, the scientists first return him to his family, but then Keys leaves him alone with E.T. Elliott says a tearful goodbye, telling E.T. that he loves him before closing the case. Before long, E.T.'s heart light begins to glow, and Elliott notices that the chrysanthemum is once again coming back to life and opens the case. E.T. reanimates and tells Elliott that his people are returning. Elliott and Michael steal the van that E.T. had been loaded into and a chase ensues, with Michael's friends joining them on bicycles, evading the authorities. Suddenly facing a police roadblock, E.T. helps them escape by using his telekinesis to lift them into the air just in time and towards the forest like he had done for Elliott before. Standing near the spaceship, E.T.'s heart glows as he prepares to return home, while Mary, Gertie, and Keys show up. E.T. says goodbye to Michael and Gertie, as she presents him with the flower he had revived. Before boarding the spaceship, he embraces Elliott and tells him "I'll be right here", pointing his glowing finger to Elliott's forehead. He picks up the chrysanthemum and boards the spaceship. As the others watch it take off, the spaceship leaves a rainbow in the sky.

THE 39 STEPS (Alfred Hitchcock, 1935)

At a London music hall theatre, Richard Hannay is watching "Mr. Memory" demonstrate his powers of recall when gunshots are heard. In the ensuing panic, Hannay finds himself holding a seemingly frightened woman who persuades him to take her back to his flat. She tells him her name is Annabella Smith, she is a spy and she fired the shots to create a diversion so she could elude assassins. She claims that she has uncovered a plot to steal vital British military information, masterminded by a man missing the top joint of one finger. She mentions "The 39 Steps", but does not explain the phrase. Later that night, Smith bursts into Hannay's bedroom and warns him to flee, before dying from a knife in her back. Hannay finds a map of the Scottish Highlands clutched in her hand, showing the area around Killin, with a building named "Alt-na-Shellach" circled. He sneaks out of his flat disguised as a milkman to avoid the waiting assassins. He then boards the Flying Scotsman express train to Scotland. At Waverley Station in Edinburgh, he learns that he is the target of a nationwide manhunt for Smith's murderer. When he sees police searching the train, he goes to another compartment and kisses the sole occupant, Pamela, to try to avoid capture. However, she alerts the policemen, who stop the train on the Forth Rail Bridge. Hannay escapes. Making his way north, he stays the night with a crofter and his much younger wife, Margaret. Early the next morning, Margaret sees the headlights of a police car approaching and wakes Hannay; before he flees, she gives him her husband's coat. The police chase after him, even employing an autogyro, but he eludes them. He eventually reaches Alt-na-Shellach, the house of Professor Jordan, where a party is going on. Jordan hides him from the police. He listens to Hannay's story. When Hannay states that the leader of the spies is missing the top joint of the little finger of his left hand, Jordan shows his right hand, which is missing that joint. He offers Hannay the opportunity to commit suicide, then shoots him and leaves him for dead. However, the bullet is stopped by a hymnary in the crofter's coat. Hannay goes to the sheriff. The sheriff does not believe him, since Jordan is his best friend. Hannay jumps through a window. Hiding at a political meeting, he is mistaken for the introductory speaker. He gives a rousing impromptu speech, but Pamela gives him away to the police once more. He is taken away; the policemen insist Pamela accompany them. When they pass the local police station, they say they are going to Inverary, 40 miles away. Hannay realises they are agents of the conspiracy. When the men get out to disperse some sheep blocking the road, they handcuff Pamela to Hannay. Hannay escapes into the foggy night, dragging Pamela with him. They make their way across the countryside and stay the night at an inn. While Hannay sleeps, Pamela manages to slip out of the handcuffs, but overhears one of the fake policemen on the telephone, confirming Hannay's story. She returns to the room. The next morning, she tells him that she overheard the spies saying that Jordan will be picking something up at the London Palladium. He sends her to London to alert the police; however, no secret documents have been reported missing, so they do not believe her. Instead they tail her, hoping that she will lead them to Hannay. She goes to the Palladium, where a show is on stage. When Mr. Memory is introduced, Hannay recognises his theme music — a catchy tune he has been unable to forget. Hannay, upon seeing Jordan signal Mr. Memory, realises that Mr. Memory has memorised the secrets. As the police are about to take Hannay away, he shouts, "What are The 39 Steps?" Mr. Memory compulsively answers, "The 39 Steps is an organisation of spies, collecting information on behalf of the foreign office of...", at which point Jordan shoots Mr. Memory before being apprehended. The dying Mr. Memory begins reciting the design for a silent aircraft engine.

THE BIRDS (Alfred Hitchcock, 1963)

At a San Francisco pet store, socialite Melanie Daniels meets lawyer Mitch Brenner, who is looking to buy lovebirds for his sister Cathy's 11th birthday. Recognizing Melanie from her court appearance regarding a practical joke gone awry, Mitch pretends to mistake her for a shop employee. Mitch tests Melanie's knowledge of birds, which she fails. He discloses his prior knowledge of her and that his ruse was intended to make her appreciate being on the other end of a joke. Mitch leaves without buying anything. Melanie buys the lovebirds to make amends and drives to Bodega Bay after she learns Mitch has gone to his family's farm for the weekend. Melanie is directed to the local teacher at Bodega, Annie Hayworth, to learn Cathy's name. Annie previously dated Mitch but ended it due to Mitch's cold, overbearing mother, Lydia, who dislikes any woman in Mitch's life. Melanie rents a boat in town and crosses the bay to leave the lovebirds at the Brenner farm discreetly. Mitch spots Melanie during her retreat and drives into town to meet her at the dock. As Melanie approaches the wharf, a gull attacks her. Mitch tends to her head wound inside a diner. Lydia arrives and meets Melanie, and Mitch announces to Lydia that he is inviting Melanie to dinner. Melanie returns to Annie's house and asks to spend the night. At the farm, Lydia's hens are suddenly refusing to eat. Lydia expresses her disapproval of Melanie to Mitch due to her exaggerated reputation, as reported in gossip columns. Mitch calls Melanie and invites her to Cathy's birthday party being held the next day. Shortly after, there is a violent thud at Annie's front door. A dead gull is found at the threshold. At Cathy's party, Melanie privately tells Mitch about her troubled past and her mother running off with another man when Melanie was Cathy's age. During a game, the children are attacked and some injured by gulls. Later that evening, as Melanie dines with the Brenners, sparrows swarm the house through the chimney. Later, Mitch insists she delay driving back to San Francisco and stay the night. The next morning, Lydia visits her neighbor to discuss why their chickens will not eat. She discovers his eyeless corpse, pecked lifeless by birds, and flees in horror. As Lydia recovers at home, she fears for Cathy's safety, and Melanie offers to pick her up at school. As Melanie waits outside the schoolhouse, a large flock of crows slowly engulfs the jungle gym behind her. Anticipating an attack, she warns Annie. As they evacuate the children, the crows attack, injuring several children. Mitch finds Melanie at the diner. When gulls attack a gas station attendant, Mitch and several other men assist him outside. Spilled gasoline ignites everywhere, causing an explosion. During the escalating fire, Melanie and others rush out but more gulls attack, and Melanie takes refuge in a telephone booth. Mitch saves her, and they get back inside the diner. A distraught woman blames Melanie for the attacks, claiming they began with her arrival. Mitch and Melanie go to Annie's house to fetch Cathy. They find Annie's body outside, killed by the crows while protecting Cathy. They pick up Cathy and take her home. That night, Melanie and the Brenners barricade themselves in the family home, which is attacked by waves of birds that nearly breach the boarded-up doors and windows. During a lull, Melanie investigates a fluttering sound in the attic bedroom. After discovering that the birds have pecked their way in through the roof, Melanie is violently attacked, trapping her until Mitch pulls her out. Melanie is badly injured and traumatized; Mitch insists they all drive to San Francisco to take Melanie to a hospital. As Mitch readies Melanie's car for their escape, a menacing sea of birds has quietly gathered around the Brenner house. Mitch quietly moves the car out. The car radio reports bird attacks on nearby communities such as Santa Rosa, and the military may intervene. Cathy retrieves her lovebirds (the only birds who do not attack) from the house and joins Mitch and Lydia as they carefully escort Melanie past a mass of birds and into the car. The car slowly drives away as thousands of birds watch ominously.

JOURNEY TO ITALY (Roberto Rossellini, 1954)

Alex and Katherine Joyce (Sanders and Bergman) are a couple from England who have traveled by car to Italy to sell a villa near Naples that they have recently inherited from "Uncle Homer". The trip is intended as a vacation for Alex, who is a workaholic businessman given to brusqueness and sarcasm. Katherine is more sensitive, and the journey has evoked poignant memories of a poet friend, Charles Lewington, now deceased. Much of the film's running time is uneventful. The opening scene shows Katherine and Alex Joyce simply conversing as they drive through the Italian countryside. The only incident is momentary, when they stop for a herd of cattle crossing the road. Shortly afterward, they arrive in Naples. The film follows them as they are given a lengthy room-by-room tour of Uncle Homer's villa by its caretakers, Tony and Natalia Burton. He is a former British soldier, she is the Italian wife he married after the war. The film subsequently follows Katherine on several days as she tours Naples without Alex. On the third day of her visit, she tours the large, ancient statues at the Naples Museum. On the sixth day, she visits the Phlegraean Fields with their volcanic curiosities. On another day, she accompanies Natalie Burton to the Fontanelle cemetery, with its stacks of unidentified disinterred human skulls that are adopted and honored by local people.[6] Within days of their arrival, the couple's relationship becomes strained amid mutual misunderstandings and a degree of jealousy on both sides. Alex dismisses Lewington as "a fool". The two begin to spend their days separately, and Alex takes a side trip to the island of Capri. On the last day of the film, they impetuously agree to divorce. Tony Burton suddenly appears, insisting that they go with him to Pompeii for an extraordinary opportunity. There, the three of them witness the discovery of another couple who had been buried in ashes during the eruption of Mount Vesuvius nearly 2000 years earlier.[7] Katherine is profoundly disturbed, and she and Alex leave Pompeii only to be caught up in the procession for Saint Gennaro in Naples.[8] The afternoon's experiences, seemingly miraculously, rekindle their love for each other. Katherine asks Alex, "Tell me that you love me!" He responds, "Well, if I do, will you promise not to take advantage of me?" The film concludes with a crane shot showing the continuing religious procession.

2 OR 3 THINGS I KNOW ABOUT HER (Jean-Luc Godard, 1967)

Although there are actors reciting lines in many of the scenes, the film does not have the structure or style of a conventional narrative film (with an introduction, conflict, and resolution), and is, instead, more of an essay film about Godard's view of contemporary life. There are shots of the ongoing construction in Paris interspersed between and within the dramatized scenes, the cast often breaks the fourth wall by looking into the camera and delivering monologues about their thoughts and lives, and a large percentage of the soundtrack is occupied by Godard's philosophical whispered narration about such topics as politics, reality, consciousness, and meaning. The dramatic plot of the film presents just over 24 hours in the sophisticated, but empty, life of Juliette Jeanson, a bourgeois married mother of two young children who works as a prostitute during the day. The morning after an uneventful evening spent at her home in one of the new high-rise apartment buildings on the outskirts of Paris, Juliette travels to the city proper, where she drops off her screaming daughter with a man who watches the children of several prostitutes in his brothel-like apartment. She shops for a dress at a fashionable store, goes to a cafe (where she sees several other housewife/prostitutes), has an appointment with a young client, and visits a beauty salon. Then, she and Marianne, her manicurist, visit her husband, Robert, at the garage/car wash at which he works, on their way to an appointment with John Bogus, a war correspondent for an American newspaper who Marianne has seen before. After having Juliette and Marianne parade back and forth naked (except for bags with airline logos on their heads), Bogus invites Juliette to join him and Marianne in bed, but Juliette refuses and, instead, thinks about her awareness of the Vietnam War, and then about her husband. In a cafe, Robert talks to the woman at the next table while he waits for Juliette to come pick him up, and, nearby, a Nobel Prize-winning writer talks with a young female fan. When she gets home, Juliette reflects on a meaningful, but only partly-remembered, experience she had that day and does her typical evening routine. In bed, she tries, unsuccessfully, to talk with Robert about modern man and love before giving up and asking him for a cigarette.

EL VERDUGO (Luis García Berlanga, 1963)

Amadeo, an executioner in Madrid, meets José Luis, a funeral parlour employee who is going to pick up the prisoner that Amadeo has just executed. José Luis cannot find a girlfriend, since all girls leave him when they find out that he works in a funeral parlour. Amadeo's daughter, Carmen, cannot find a boyfriend, because all the candidates leave when they find out that her father is an executioner. Carmen and José Luis get to know each other and start a relationship that they declare to Amadeo when Carmen becomes pregnant. Amadeo hopes that the government will give him a flat (given that he is a civil servant), but they refuse it because by the time they give it to him, he will be retired. He and his daughter trick José Luis into accepting the role of executioner to keep the housing, assuring him that he won't have to kill anybody. When an order arrives for an execution in Mallorca, José Luis is horrified and wants to resign, but this would mean losing the flat and returning the salary he has earned. Amadeo and Carmen tell him to wait until the final moment, since the prisoner is ill and will surely die before being executed. In the end, José Luis is dragged to the execution in despair, as if he were the convict instead of the executioner.

STRANGERS ON A TRAIN (Alfred Hitchcock, 1951)

Amateur tennis star Guy Haines wants to divorce his promiscuous wife Miriam so he can marry Anne Morton, the daughter of a US Senator. On a train, wealthy smooth-talking psychopath Bruno Antony recognizes Haines and reveals his idea for a murder scheme: two strangers meet and "swap murders" — Bruno suggests he kill Miriam and Guy kill Bruno's hated father. Each will murder a stranger, with no apparent motive, so neither will be suspected. Guy humors Bruno by pretending to find his idea amusing, but is so eager to get away from Bruno that he leaves behind his engraved cigarette lighter. Guy meets with Miriam, who is pregnant by someone else, at her workplace in Metcalf, their hometown. Miriam informs Guy that she no longer wants to end their marriage. She threatens to claim that he is the father, in order to thwart any divorce attempt. That evening, Bruno follows Miriam to an amusement park and strangles her while Guy is on the train to Washington. When Guy arrives home, Bruno informs him Miriam is dead and insists that he must now honor their deal. Guy goes to the Mortons' home, where Anne's father informs Guy that his wife has been murdered. Anne's sister Barbara says that the police will think that Guy is the murderer since he has a motive. The police question Guy, but cannot confirm his alibi: a professor Guy met on the train was so drunk that he cannot remember their encounter. The police assign an escort to watch him. Bruno follows Guy around Washington, introduces himself to Anne, and appears at a party at Senator Morton's house. To amuse another guest, Bruno playfully demonstrates how to strangle a woman. His gaze falls upon Barbara, whose appearance resembles Miriam's. This triggers a flashback; Bruno compulsively squeezes the woman's neck, and other guests intervene to stop him from strangling her to death. Barbara tells Anne that Bruno was looking at her while strangling the other woman, and Anne realizes Barbara's resemblance to Miriam. Her suspicions aroused, Anne confronts Guy, who tells her the truth about Bruno's scheme. Bruno sends Guy a package containing a pistol, a house key, and a map showing the location of his father's bedroom. Guy creeps into Bruno's father's room to warn him of his son's murderous intentions, but instead finds Bruno there waiting for him. Guy tries to persuade Bruno to seek psychiatric help, but Bruno threatens to punish Guy for breaking their deal. Anne visits Bruno's home and tries explaining to his befuddled mother that her son is a murderer. Bruno mentions Guy's missing cigarette lighter to Anne and claims that Guy asked him to search the murder site for it. Guy infers that Bruno intends to plant it at the scene of the murder and incriminate him. After winning a tennis match, Guy evades the police escort and heads for the amusement park to stop Bruno. When Bruno arrives at the amusement park, a carnival worker recognizes him from the night of the murder; he informs the police, who think he has recognized Guy. After Guy arrives, he and Bruno fight on the park's carousel. Believing that Guy is trying to escape, a police officer shoots at him, but instead kills the carousel operator, causing the carousel to spin out of control. A carnival worker crawls underneath it and applies the brakes too abruptly, causing the carousel to spin off its support, trapping the mortally injured Bruno underneath. The worker who called the police tells them that Bruno, not Guy, is the one he remembers seeing the night of the murder. As Bruno dies, his fingers unclench to reveal Guy's lighter in his hand. Realizing that Guy is not the murderer, the police ask him to come to the station to tie up loose ends. Sometime later, another stranger on a train attempts to strike up conversation with Guy in the same way as had Bruno. Guy and Anne coldly walk away from him.

STAR WARS (George Lucas, 1977)

Amid a galactic civil war, Rebel Alliance spies have stolen plans to the Galactic Empire's Death Star, a massive space station capable of destroying entire planets. Imperial Senator Princess Leia Organa of Alderaan, secretly one of the Rebellion's leaders, has obtained its schematics, but her ship is intercepted by an Imperial Star Destroyer under the command of the ruthless Empire agent Darth Vader. Before she is captured, Leia hides the plans in the memory system of astromech droid R2-D2, who flees in an escape pod to the nearby desert planet Tatooine alongside his companion, protocol droid C-3PO. The droids are captured by Jawa traders, who sell them to moisture farmers Owen and Beru Lars and their nephew Luke Skywalker. While Luke is cleaning R2-D2, he discovers a holographic recording of Leia requesting help from an Obi-Wan Kenobi. Later, R2-D2 is missing, and Luke is attacked by scavenging Sand People while searching for him, but is rescued by elderly hermit "Old Ben" Kenobi. Ben, an acquaintance of Luke's, reveals that "Obi-Wan" is his true name. He tells Luke of his days as one of the Jedi Knights, former peacekeepers of the Galactic Republic, who drew mystical abilities from a metaphysical energy field known as "the Force", but were ultimately hunted to near-extinction by the Empire. Luke learns that his father fought alongside Obi-Wan as a Jedi Knight during the Clone Wars until Vader, Obi-Wan's former pupil, turned to the dark side of the Force and murdered him. Obi-Wan offers Luke his father's old lightsaber, the signature weapon of Jedi Knights. R2-D2 plays Leia's full message, in which she begs Obi-Wan to take the Death Star plans to her home planet of Alderaan and give them to her father, a fellow veteran, for analysis. Although Luke initially declines Obi-Wan's offer to accompany him to Alderaan and learn the ways of the Force, he is left with no choice after discovering that Imperial stormtroopers have killed his aunt and uncle and destroyed their farm in their search for the droids. Traveling to a cantina in Mos Eisley to search for transport, Luke and Obi-Wan hire Han Solo, a smuggler indebted to local mobster Jabba the Hutt. Pursued by stormtroopers, Obi-Wan, Luke, R2-D2, and C-3PO flee Tatooine with Han and his Wookiee co-pilot Chewbacca on their ship the Millennium Falcon. Before the Falcon can reach Alderaan, Death Star commander Grand Moff Tarkin destroys the planet in a show of force after interrogating Leia for the location of the Rebel Alliance's base. Upon arrival, the Falcon is captured by the Death Star's tractor beam, but the group evades capture by hiding in the ship's smuggling compartments. As Obi-Wan leaves to disable the tractor beam, Luke persuades Han and Chewbacca to help him rescue Leia after discovering that she is scheduled to be executed. After disabling the tractor beam, Obi-Wan sacrifices himself in a lightsaber duel against Vader, allowing the rest of the group to escape the Death Star with Leia. Using a tracking device, the Empire tracks the Falcon to the hidden Rebel base on Yavin IV. The schematics reveal a hidden weakness in the Death Star's thermal exhaust port, which could allow the Rebels to trigger a chain reaction in its main reactor with a precise proton torpedo strike. Han leaves the Rebels to pay off Jabba, after collecting his reward for rescuing Leia. Luke joins their X-wing starfighter squadron in a desperate attack against the approaching Death Star. In the ensuing battle, the Rebels suffer heavy losses as Vader leads a squadron of TIE fighters against them. Han and Chewbacca unexpectedly return to aid them in the Falcon, and knock Vader's ship off course before he can shoot Luke down. Guided by the voice of Obi-Wan's spirit, Luke uses the Force to aim his torpedoes into the exhaust port, destroying the Death Star moments before it fires on the Rebel base. In a triumphant ceremony at the base, Leia awards Luke and Han medals for their heroism.

DOOMED LOVE (Manoel de Oliveira, 1978)

Amor de Perdição (Lit. Love of Perdition) is a 1978 Portuguese film directed by Manoel de Oliveira.[1] Amor de Perdição is conceived as a succession of "live images" shot with a camera, in still shots, mostly in studio décor, with few outside views. The image composition is quite careful, in keeping with such deliberate artificialism, sometimes with expressionistic traits.

CACHÉ (Michael Haneke, 2005)

An affluent Parisian couple, Anne and Georges Laurent, discover a videotape left on their property without explanation that shows hours of footage of their residence, implying they are under surveillance. Puzzled about its origin, they debate its purpose, considering whether it might be a practical joke played by friends of their 12-year-old son, Pierrot, or the work of fans of Georges, who hosts a literary television show. A second tape arrives, accompanied by a childlike drawing of a person with blood streaming out of his mouth. Similar drawings are mailed to Georges's workplace and Pierrot's school. Disturbed, the Laurents turn to the French police, who determine the tapes are too harmless to be considered criminal activity. The Laurents host a dinner party that is interrupted by the delivery of another videotape, with a crude drawing of a chicken bleeding at its neck. When Anne discloses the stalking to their friends, Georges puts the tape in the VCR and finds it shows the estate where he grew up. Georges begins to have vivid dreams about Majid, a boy he knew in childhood. Majid's Algerian parents worked as farmhands on Georges's family estate but disappeared in the Paris massacre of 1961. Feeling responsible for Majid, Georges's parents intended to adopt him, but the process was never finalised. Suspecting Majid might be responsible for the tapes, Georges visits his ailing mother, who surprisingly professes not to remember Majid well. When the Laurents receive another tape, revealing a low-income housing apartment, Georges tells Anne he has a suspect in mind, but will not say who until he can confirm his suspicion. Anne responds with shock at what she sees as his lack of trust. Following the last tape's clues, Georges locates the apartment off Avenue Lénine in Romainville and finds Majid there. Majid denies knowledge of the tapes or drawing, but Georges does not believe him and threatens him. A hidden camera recorded the conversation with Majid, who breaks down crying after Georges leaves, and tapes of the encounter are sent to Anne and Georges's employer. Georges explains to Anne that he was six when his parents were planning to adopt Majid and that he did not want it to happen; he told lies about Majid, who was sent away. When Pierrot disappears, the Laurents frantically contact the police, who check Majid's apartment and arrest Majid and Majid's son, though they deny involvement in kidnapping. Pierrot returns to his family, having spent time with friends, and hints to Anne that he thinks she is too close to Pierre, a family friend. Majid calls Georges and asks him to come back to the apartment. When Georges arrives, Majid denies having sent the tapes, says he wanted Georges present, and kills himself by slashing his throat. Georges confesses to Anne that as a boy, he had claimed Majid was coughing up blood and convinced Majid to kill the family's rooster, falsely claiming his father wanted him to. The police confirm the cause of death as suicide, but Majid's son appears at Georges's workplace to confront him. Believing the son is responsible for the tapes, Georges threatens him to cease surveillance, but the son replies he was not involved with the tapes and wanted to know how Georges felt about being responsible for a death. Later, Majid's son converses with Pierrot after school.

THE WIND (Victor Sjöström, 1928)

An impoverished young woman named Letty Mason (Lillian Gish) travels west by train from Virginia to live at her cousin Beverly's isolated ranch in Sweetwater, Texas. On the way, she is bothered by the constantly blowing wind. Fellow passenger and cattle buyer Wirt Roddy (Montagu Love) makes her acquaintance and tells her the wind usually drives women crazy. Upon arrival, she is picked up by Beverly's closest neighbors, Lige Hightower (Lars Hanson) and the older, balding Sourdough (William Orlamond), who live 15 miles from her cousin. Wirt assures her he will drop by occasionally to see how she is doing. After endless miles in sand and wind, they arrive at the ranch. Beverly (Edward Earle) is delighted to see her, but his jealous wife Cora (Dorothy Cumming) gives her a cold reception, despite Letty saying she and Beverly (who was raised by Letty's mother) are like brother and sister. Cora is further angered when her children seem to like Letty better. At a party, Sourdough tells Lige that he intends proposing to Letty. Lige explains he was planning to do the same. After Wirt drops by, a cyclone interrupts the festivities. Most of the guests seek shelter in the basement, where Wirt declares his love for Letty and offers to take her away from the dismal place. After the cyclone passes, Lige and Sourdough talk to Letty in private. When they flip a coin to see who will ask for her hand in marriage (Lige wins), Letty thinks it is just a joke. Afterward, Cora demands that Letty leave the ranch. Because she has neither money nor a place to go, she decides to go away with Wirt, but then Wirt reveals that he wants her for a mistress, informing her that he already has a wife. She goes back to Cora, who tells her to choose from her two other suitors. She marries Lige. When Lige takes her home, he kisses Letty for the first time, but her lack of enthusiasm is unmistakable. Worse for the drink, he becomes more forceful, and she tells him she hates him. He promises he will never touch her, and will try to make enough money to send her back to Virginia. In the meantime, Letty works around the house, but is bothered by the ever-present wind. One day, Lige is invited to a meeting of the cattlemen, who must do something to avoid starvation. Letty, terrified of being left alone with the wind, begs to go with him, and he agrees. After she cannot control her horse in the fierce wind, he has her get on behind him on his horse. When she falls off, Lige tells Sourdough to take her home. When the cattlemen return, they bring an unwanted guest, an injured Wirt. After he recovers, Lige insists he participate in a roundup of wild horses to raise money for the cattlemen. Wirt goes along, but later sneaks away and returns to Letty. Out of her mind with fear as she endures the house shaking from the worst wind storm yet, Letty faints soon after Wirt's arrival. He picks her up and carries her to the bed.[note 1] The next morning, Wirt tries to persuade Letty to go away with him, but she coldly rejects him. He insists, noting Lige will kill them both if they remain. As Wirt becomes more aggressive, Letty picks up Wirt's revolver from the table to defend herself. Confident that Letty will not fire, Wirt grabs the gun and it goes off, killing him. At first startled by Wirt's death, Letty looks confusedly at him and at the gun in her hand; she then decides to bury him outside. After she is done, she goes back inside the cabin. The wind blows into an even greater fury, and Letty stares with mounting fear through a window as the wind gradually uncovers Wirt's body, terrifying her. Letty runs away from the window, but then sees two hands clasped around the cabin's door trying to force it open; Letty hysterically believes it is Wirt returned from the dead, and falls prone with terror, her face hidden, as someone enters. The hands turn her over, and Letty stares upward blank with madness. However, it is actually Lige, who has returned. After a few moments, Letty returns to sanity and recognizes Lige; she is so glad to see him, she frantically kisses her husband. She then confesses she killed and buried Wirt. When Lige looks outside, however, the corpse is nowhere to be seen. He tells Letty that the wind can remove traces when a killing is justified. He has enough money to send her away, but Letty declares that she loves him, that she no longer wants to leave, and that she is no longer afraid of the wind or anything else.

INDIA SONG (Marguerite Duras, 1975)

Anne-Marie Stretter (Delphine Seyrig) is the wife of the French ambassador in India in the 1930s. With the full knowledge of the French ambassador, Anne-Marie has many affairs while the world they inhabit decays from the inside out. The Vice-Consul of Lahore (Michael Lonsdale) discusses a love affair with her, one that is impossible due to an earlier scandal where he fired on lepers, mirrors and himself. Anne-Marie finally succeeds in the suicide they'd initially attempted many years before.

LET THE RIGHT ONE IN (Tomas Alfredson, 2008)

Oskar, a meek 12-year-old boy, resides with his mother Yvonne in the western Stockholm suburb of Blackeberg in 1982. His classmates regularly bully him, and he spends his evenings imagining revenge, collecting clippings from newspapers and magazines about murders. One night he meets Eli, who appears to be a pale girl of his age. Eli has recently moved into the next-door apartment with an older man, Håkan. Eli initially informs Oskar that they cannot be friends. Over time, however, the two begin to form a relationship, and exchange Morse code messages through their adjoining wall. Eli learns that Oskar is being bullied by schoolmates and encourages him to stand up for himself. Oskar enrolls in weight-training classes after school. Earlier, Håkan stops and kills a passerby on a footpath to harvest blood for Eli, but is interrupted by an approaching dog walker. Eli is prompted to waylay and kill a local man, Jocke, making his way home after having said goodnight to his best friend, Lacke. A cat-loving recluse, Gösta, witnesses the attack from his flat but, in disbelief, decides not to report the incident. Håkan hides Jocke's body in an ice-hole in the local lake. Håkan makes another effort to obtain blood for Eli by trapping a teenage boy in a changing room after school. When he is about to be discovered by the boy's friends, Håkan pours concentrated hydrochloric acid onto his own face, disfiguring it to prevent the authorities from identifying him. Eli visits Håkan in the hospital; Håkan offers her his neck for feeding. Eli drains him of his blood, and Håkan falls out the window. Eli goes to Oskar's apartment and spends the night with him, during which time they agree to "go steady", though Eli states, "I'm not a girl". During an ice skating field trip at the lake, some of Oskar's fellow students discover Jocke's body. At the same time, the bullies again harass Oskar, who hits their leader Conny in the head with a metal pole, splitting his ear. Sometime later, unaware that Eli is a vampire, Oskar suggests that he and Eli form a blood bond, and cuts his hand, asking Eli to do the same. Eli, thirsting for blood but not wanting to harm Oskar, laps up his blood before running away. Lacke's girlfriend, Virginia, is subsequently attacked by Eli. Virginia survives but discovers that she has become painfully sensitive to sunlight. Virginia visits Gösta, only to be fiercely attacked by Gösta's cats. Soon after this, Oskar confronts Eli, who admits to being a vampire. Oskar is initially upset by Eli's need to kill people for survival. However, Eli insists that they are alike, in that Oskar wants to kill and Eli needs to kill, and encourages Oskar to "be me, for a little while." In the hospital, Virginia asks an orderly to open the blinds in her room. When the sunlight streams in, Virginia bursts into flames. Lacke tracks Eli down to the apartment. Breaking in, he discovers Eli asleep in the bathtub. He prepares to kill Eli, but Oskar interferes; Eli wakes up, jumps on Lacke and feeds on his blood, killing him. Eli thanks Oskar and kisses him. However, an upstairs neighbor is angrily knocking on the ceiling due to the disturbance. Eli realizes that it is not safe to stay and leaves that night. The next morning, Oskar is lured out to resume the after-school fitness program at the local swimming pool. The bullies, led by Conny and his older brother Jimmy, start a fire to draw Mr Ávila, the supervising teacher, outside. They enter the pool area and order the children, aside from Oskar, to clear out. Jimmy forces Oskar under the water, threatening to stab his eye out if he does not hold his breath for three minutes. While Oskar is being held underwater, Eli arrives and rescues him by killing and dismembering the bullies, except for the most reluctant of their number, Andreas, who is left sobbing on a bench. Later, Oskar is travelling on a train with Eli in a box beside him. From inside, Eli taps the word "kiss" to Oskar in Morse code, to which he taps back "small kiss".[a]

ANDREI RUBLEV (Andrei Tarkovsky, 1966)

Andrei Rublev is divided into eight episodes, with a prologue and an epilogue only loosely related to the main film. The main film charts the life of the great icon painter through seven episodes which either parallel his life or represent episodic transitions in his life. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions. Prologue[edit] The film's prologue shows the preparations for a hot air balloon ride. The balloon is tethered to the spire of a church next to a river, with a man named Yefim (Nikolay Glazkov) attempting to make the flight by use of a harness roped beneath the balloon. At the very moment of his attempt, an ignorant mob arrive from the river and attempt to thwart the flight, putting a firebrand into the face of one of the men on the ground assisting Yefim. In spite of this the balloon is successfully released and Yefim is overwhelmed and delighted by the view from above and the sensation of flying, but he cannot prevent a crash-landing shortly after. He is the first of several creative characters, representing the daring escapist, whose hopes are easily crushed. After the crash, a horse is seen rolling on its back by a pond, one of many horses in the film. Fresco Bosom of Abraham by the historical Daniil Chyorny (c. 1360-1430) I. The Jester (Summer 1400)[edit] Andrei (Anatoly Solonitsyn), Daniil (Nikolai Grinko) and Kirill (Ivan Lapikov) are wandering monks and religious icon painters, looking for work. The three represent different creative characters. Andrei is the observer, a humanist who searches for the good in people and wants to inspire and not frighten. Daniil is withdrawn and resigned, and not as bent on creativity as on self-realization. Kirill lacks talent as a painter, yet still strives to achieve prominence. He is jealous, self-righteous, very intelligent and perceptive. The three have just left the Andronikov Monastery, where they have lived for many years, heading to Moscow. During a heavy rain shower they seek shelter in a barn, where a group of villagers is being entertained by a jester (Rolan Bykov). The jester, or skomorokh, is a bitterly sarcastic enemy of the state and the Church, who earns a living with his scathing and obscene social commentary and by making fun of the Boyars. He ridicules the monks as they come in, and after some time Kirill leaves unnoticed. Shortly after, a group of soldiers arrive to arrest the skomorokh, whom they take outside, knock unconscious and take away, also smashing his musical instrument. As the rain has stopped, Kirill returns. Kirill wants to leave, so Andrei wakes up resting Daniil. Unaware of what has happened to the jester, Daniil thanks the villagers for the shelter. As they walk on, the heavy rain starts again. II. Theophanes the Greek (Summer-Winter-Spring-Summer 1405-1406)[edit] Kirill arrives at the workshop of Theophanes the Greek (Nikolai Sergeyev), a prominent and well-recognized master painter, who is working on a new icon of Jesus Christ. Theophanes is portrayed as a complex character: an established artist, humanistic and God-fearing in his views yet somewhat cynical, regarding his art more as a craft and a chore in his disillusion with other people. His young apprentices have all run away to the town square, where a wrongly convicted criminal is about to be tortured and executed. Kirill talks to Theophanes, and the artist, impressed by the monk's understanding and erudition, invites him to work as his apprentice on the decoration of the Cathedral of the Annunciation in Moscow. Kirill refuses at first, but then accepts the offer on the condition that Theophanes will personally come to the Andronikov Monastery and invite Kirill to work with him in front of all the fraternity and Andrei Rublev, who is renowned for his icon painting in the outside world, an admiration shared by Kirill and Theophanes. A short while later at the Andronikov Monastery, a messenger arrives from Moscow to ask for assistance in decorating the cathedral, as arranged, but instead of Kirill, he propositions Andrei. Both Daniil and Kirill are agitated by the recognition that Andrei receives. Daniil refuses to accompany Andrei and reproaches him for accepting Theophanes' offer without considering his fellows, but soon repents of his temper and tearfully wishes Andrei well when the younger monk comes to say goodbye to his friend. Kirill is jealous of Andrei and, in a fit of anger, decides to leave the monastery for the secular world, throwing accusations of greed in the face of his fellow monks, who also dismiss him. Kirill stumbles out of the monastery into the snowy countryside and is followed by his dog, but, in anger, he savagely beats it with his walking stick and leaves it for dead. III. The Passion (1406)[edit] Andrei leaves for Moscow with his young apprentice Foma (Mikhail Kononov). While walking in the woods, Andrei and Foma have a conversation about Foma's flaws, and in particular lying. Foma confesses to having taken honey from an apiary, after Andrei notices his cassock is sticky, and he smears mud on his face to soothe a bee sting. While Foma has talent as an artist, he is less interested in the deeper meaning of his work and more concerned with the practical aspects of the job, like perfecting his azure, a color which at the time was often considered unstable to mix. They encounter Theophanes in the forest, and the old master sends Foma away, unimpressed by his attitude to art. As he leaves, the apprentice finds a dead swan; after poking it with a stick, he admires its wing and fantasizes about having a bird's-eye view. In the forest, Andrei and Theophanes argue about religion, while Foma cleans his master's paint brushes. Theophanes argues that the ignorance of the Russian people is due to stupidity, while Andrei says that he doesn't understand how he can be a painter and maintain such views. This section contains a Passion Play, or a reenactment of Christ's Crucifixion, on a snow-covered hillside which plays out as Andrei recounts the events of Christ's death and expresses his belief that the men who crucified him were obeying God's will and loved him. IV. The Holiday (1408)[edit] Camping for the night on a riverbank, Andrei and Foma are collecting firewood for their traveling party when Andrei hears the distant sounds of celebration further upstream in the woods. Going to investigate, he comes upon a large group of naked pagans who are conducting a lit-torch ritual for Kupala Night. Andrei is intrigued and excited by the behaviour of the pagans but is caught spying on a couple making love, tied to the crossbeam of a hut, his arms raised in a mockery of Jesus' crucifixion, and is threatened with drowning in the morning. A woman named Marfa (Nelly Snegina), dressed only in a fur coat, approaches Andrei. After explaining to Andrei, who lashes her with prejudice, that her people are persecuted for their beliefs, she drops her coat, kisses Andrei and then unties him. Andrei runs away and is lost in the dense woods, scratching his face. The next morning Andrei returns to his group, with Daniil now present, and as they leave on their boats a group of soldiers appear on the riverbank chasing after several of the pagans, including Marfa. In the struggle, her lover is captured, but she manages to escape by swimming naked into the river, passing right by Andrei's boat. He and his fellow monks look away in shame. V. The Last Judgment (Summer 1408)[edit] Andrei and Daniil are working on the decoration of a church in Vladimir. Although they have been there for two months the walls are still white and bare. A messenger, Patrikei (Yuri Nikulin), arrives with word from the Bishop, who is furious, to say they have until autumn to finish the job. On a nearby road in the middle of a field of flowers Andrei confides to Daniil that the task disgusts him and that he is unable to paint a subject such as the Last Judgement as he doesn't want to terrify people into submission. He comes to the conclusion that he has lost the ease of mind that an artist needs for his work. Foma, impatient and wanting to work, resigns and leaves Andrei's group to take up the offer of painting a smaller, less prestigious church. Stone carvers and decorators of Andrei's party have also been working on the Grand Duke's mansion. The Prince is dissatisfied with the work done, and wants it to be redone, more in line with his tastes, but the workers already have another job, which is to help set up the mansion of the Grand Duke's brother, and they promptly refuse and leave, after indignantly proclaiming that the Grand Duke's brother will have a much more splendid home than he himself. While walking on a path through a nearby forest towards the mansion of their client, the artisans are assaulted by soldiers sent by the Grand Duke, and their eyes are gouged out, leaving them incapable of practicing their craft. Back at the church, Andrei is dismayed by the news of the attack on the artisans and angrily throws paint and smears it on one of the walls. Sergei (Vladimir Titov), a young apprentice who escaped the assault unharmed, reads a random section of the bible aloud, at Daniil's request, concerning women. A young woman, Durochka (Irma Raush), whose name identifies her as a holy fool, or Yurodivy, wanders in to take shelter from the rain and is upset by the sight of the paint on the wall. Her feeble-mindedness and innocence inspires in Andrei the idea to paint a feast. VI. The Raid (Autumn 1408)[edit] While the Grand Duke is away in Lithuania, his power-hungry younger brother forms an allegiance with a group of Tatars and raids Vladimir. In a flashback, the Grand Duke and his brother attend a religious service in a church, and the rivalry and animosity between them is clear. The invasion of the combined armed forces, their men on horseback, results in great carnage: the city is burned, the citizens murdered and women raped and killed. One scene shows a horse falling from a flight of stairs. Foma, who is in the midst of the chaos, narrowly escapes being killed in the city by a Russian soldier and escapes into the nearby countryside, but as he is crossing a river he is shot in the back with an arrow and killed. The Tatars force their way into the barricaded church, now fully decorated with Andrei's paintings, where the majority of the citizens have taken refuge. The Tatars show no mercy and massacre the people inside and burn all the painted wooden altarpieces. Andrei, who is also in the church, saves Durochka from being raped by a Russian soldier by killing him with an axe. The bishop's messenger Patrikei is also present; he is tortured with fire to make him reveal the location of the city's gold, which he refuses to do. After being repeatedly burned with a flaming torch, he has hot liquid metal from a melted crucifix poured into his mouth silencing his screams. Then he is dragged away feet first, tied to a horse. In the aftermath only Andrei and Durochka are left alive in the church. Andrei imagines a conversation with the dead Theophanes the Greek, lamenting the loss of his work and the cruelty of mankind, while Durochka distractedly plaits the hair of a dead woman. Andrei decides to give up painting and takes a vow of silence to atone for his killing of another man. Christ the Redeemer icon from the so-called Zvenigorod Chin (c. 1410; today at the Tretyakov Gallery, Moscow) VII. Silence (Winter 1412)[edit] Note: In the 205-minute version known as The Passion According to Andrei, this episode is titled The Charity Andrei is once again at the Andronikov Monastery as famine and war grip the country. He no longer paints and never speaks, and keeps Durochka with him as a fellow companion in silence. In the same monastery, refugees discuss the problems plaguing their respective home towns, and one man who appears starts telling, in a broken voice, of his escape from Vladimir. He is recognized by a younger monk as the long absent Kirill. He has suffered during his time away from the monastery and begs the father superior to allow him to return. His wish is granted after much pleading and initial rejection, but he is instructed to copy out the holy scriptures 15 times in penance. Soon, a group of Tatars stops at the monastery while traveling through the region, much to the concern of Andrei and Kirill who have experienced their brutality first hand. Durochka, however, is too simple-minded to understand or remember what the Tatars did and is fascinated by the shining breastplate carried by one of them. The group taunt and play with her, but the Tatar takes a liking to her, putting his horned helmet on her head and dressing her in a blanket, promising to take her away with him as his eighth, and only Russian, wife. Andrei attempts to stop her from leaving, but she is delighted with the Tatar's gifts, and she rides away with the Tatars. Kirill approaches Andrei and talks to him for the first time since their departure from the monastery, and he assures him that Durochka won't be in any danger, as harming a holy fool is considered bad luck and a great sin, and that she will be let go. Andrei still does not speak, despite Kirill's despaired pleading, and continues his menial work of carrying large hot stones from a fire with tongs to heat water for the monastery, but drops the stone in the snow. VIII. The Bell (Spring-Summer-Winter-Spring 1423-1424)[edit] This episode concerns Boriska, (Nikolai Burlyayev) the young son of an expert bellmaker. Men have been sent by the prince to search out Boriska's father in order to ask him to cast a bronze bell for a church. Instead, they come upon Boriska, who tells them that the area has been ravaged by a plague, and that his father, as well as all his family, is dead. He furthermore tells them that he is the only one who possesses the secret, delivered by his father at his death bed, of casting a quality bronze bell, and asks them to take him with them, as he is, by his own contention, the only person left alive who can complete the task successfully. The men are initially dismissive, but soon agree, and Boriska is put in charge of the project. At the site, Boriska contradicts and challenges the instincts of the workers in choosing the location of the pit, the selection of the proper clay, the building of the mold, the firing of the furnaces and finally the hoisting of the bell. The workers soon complain to him that his father treated them differently and one worker, who refuses his orders, is flogged in punishment. The process of making the bell grows into a huge, expensive endeavour with many hundreds of workers and Boriska makes several risky decisions, guided only by his instincts; soon, even he doubts the project's prospective success. Andrei, who has arrived on the scene, silently watches Boriska during the casting, and the younger man notices him too. During the bell-making, the skomorokh (jester) from the first sequence makes a reappearance amongst the crowds who have come to watch the bell being raised up and, seeing Andrei, he threatens to kill him, mistaking him for Kirill, his denouncer of years past. Kirill's implication of the man led to him being imprisoned and tortured. Kirill soon arrives and intervenes on behalf of the silent Andrei and later privately confesses to Andrei that his sinful envy of his talent dissipated once he heard Andrei had abandoned painting and that it was he who had denounced the skomorokh. Kirill then criticizes Andrei for allowing his God-given talent for painting to go to waste and pleads with him to resume his artistry, but receives no response. Andrei Rublev's famous icon of the Holy Trinity (c. 1410; Tretyakov Gallery, Moscow) As the bell-making nears completion, Boriska's confidence slowly transforms into a stunned, detached disbelief that he's seemingly succeeded at the task. As the furnaces are opened and the molten metal pours into the mould, he privately asks God for help. The work crew takes over as Boriska makes several attempts to fade into the background of the activities. After completion, the bell is hoisted into its tower and the Grand Duke and his entourage arrive for the inaugural ceremony as the bell is blessed by a priest. As the bell is prepared to be rung, some Italian ambassadors in the royal entourage express their doubt over the prospective success of its ringing. It is revealed that Boriska and the work crew know that if the bell fails to ring, the Grand Duke will have them all beheaded. (It is also overheard that the Grand Duke has already had his brother, the one who raided Vladimir, beheaded.) There is a quiet, agonizing tension among the crowd as the foreman slowly coaxes the bell's clapper back and forth, nudging it closer to the lip of the bell with each swing. A pan across the assembly reveals the white-robed Durochka, leading a horse and preceded by a child which is, presumably, hers, as she walks through the crowd. At the critical moment the bell rings perfectly, and she smiles. After the ceremony, Andrei finds Boriska collapsed on the ground, sobbing. He admits his father never actually told him his bell-casting secret. Andrei, impressed by the effect the successful ringing has had on the rejoicing crowd, realizes the joy that his own art might bring. He comforts Boriska, breaking his vow of silence and telling the boy that they should carry on their work together: "You'll cast bells. I'll paint icons." Andrei then sees Durochka, the boy and the horse walk off across a muddy field in the distance. The eighth part of the film ends with this scene and it is followed by an epilogue. Epilogue[edit] The epilogue is the only part of the film in color and shows time-aged, but still vibrant, details of several of Andrei Rublev's actual icons. The icons are shown in the following order: Enthroned Christ, Twelve Apostles, The Annunciation, Twelve Apostles, Jesus entering Jerusalem, Birth of Christ, Enthroned Christ, Transfiguration of Jesus, Resurrection of Lazarus, The Annunciation, Resurrection of Lazarus, Birth of Christ, Trinity, Archangel Michael, Paul the Apostle, The Redeemer. The final scene crossfades from the icons and shows four horses standing by a river in thunder and rain.

L'AVVENTURA (Michelangelo Antonioni, 1960)

Anna (Lea Massari) and her friend Claudia (Monica Vitti) meet up at Anna's father's villa before embarking on a yachting trip along the Mediterranean. They head into Rome to meet Anna's boyfriend, Sandro, near Pons Fabricius. While Claudia waits downstairs, Anna and Sandro make love in his house. Sandro then drives the two women to the coast where they join two affluent couples for their voyage. The next day, the group reaches the Aeolian Islands, and Anna jumps into the water for a swim. Sandro follows her when she claims to have seen a shark, only to find out later that it was a lie. During their trip, Anna confides in Sandro about her unhappiness with his frequent business trips, but he dismisses her concerns and takes a nap on the rocks. Later, Corrado (James Addams) becomes concerned about the weather and decides to leave the island. However, Anna goes missing, and Sandro brushes it off as typical behavior. They search the island but find nothing. Sandro, Corrado, and Claudia stay behind to continue the search, while the others notify the authorities. As they search, Sandro takes offense when Claudia suggests his neglect may have played a role in Anna's disappearance. The police conduct a thorough search but find nothing, and Anna's father arrives. Sandro decides to investigate nearby smugglers, but before leaving, he kisses Claudia, startling her. She decides to search other islands alone, and they agree to meet up later in Palermo. Sandro realizes that the smugglers have no information about Anna's disappearance. When Claudia arrives, they meet at the train station, and their attraction is evident, but Claudia urges him to leave. She boards a train to Palermo, and as it departs, Sandro jumps aboard. Claudia is annoyed, but Sandro sees no sense in sacrificing their attraction. Claudia is troubled by how easily things can change. Sandro relents and gets off the train at Castroreale. In Messina, Sandro meets with journalist Zuria, who suggests Anna may have been seen by a chemist in Troina. Sandro bribes Zuria for another story and heads to Troina. Meanwhile, Claudia arrives at Corrado's villa, where no one takes Anna's disappearance seriously. Claudia leaves for Troina after reading Zuria's follow-up story. In Troina, Sandro and Claudia track down a chemist who claims to have sold tranquilizers to Anna. They learn that the woman identified by the chemist left for Noto in southern Sicily. Together, they drive south, stopping at a deserted village before making love on a hill overlooking the town. In Noto, they search for Anna at the Trinacria Hotel, but find nothing. Claudia remains conflicted between her feelings for Sandro and her loyalty to Anna. At the Chiesa del Collegio, Sandro reveals his disappointment with his career and proposes to Claudia, but she declines. The next morning, they both seem to be passionately in love, but Claudia resists his advances and suggests they leave. In Taormina, Sandro and Claudia stay at the San Domenico Palace Hotel while Sandro's boss and his wife prepare for a party. Claudia decides to skip it, while Sandro checks out the women and recognizes Gloria Perkins (Dorothy De Poliolo), a beautiful 19-year-old "writer" and aspiring actress who is actually an expensive prostitute. Later, Claudia searches for Sandro and finds him embracing Gloria. Heartbroken, Claudia runs off, and Sandro follows her to the hotel terrace. There, they both cry and Claudia enigmatically places her hand on Sandro's head as they look out at Mount Etna in the distance.

THE CRIMINAL LIFE OF ARCHIBALDO DE LA CRUZ (Luis Buñuel, 1955)

Archibaldo de la Cruz (Alonso) is a wealthy Mexican man. As a privileged child during the Mexican Revolution, he witnessed the death of his governess, who died as she told him a fable about a music box that his mother had just given him. Because of the contents of the story and the coincidental timing of the governess's death, a young Archibaldo concludes that he had killed the woman using the music box. It is from there that his desire to kill begins. As an adult, Archibaldo relates this story to a nun, and threatens to kill her with a straight razor. The terrified woman runs from Archibaldo, eventually running into an empty elevator shaft to her death. Archibaldo is called in by a judge investigating the incident. He confesses that he is responsible for her death, and for many others. Patricia Terrazas (Macedo), is rather loud and constantly at conflict with her lover. After witnessing a fight between her and her lover, Archibaldo follows her and offers to drive her home, which she accepts. On arriving, he fantasizes of killing her with his straight razor, but is interrupted when her lover arrives home. The next morning a police officer arrives at Archibaldo's home, with news that Patricia had committed suicide. Next, Archibaldo turns his attention to Carlota Cervantes (Welter), a woman very religious, and is purported to be a virgin. However, she is having an affair with a married man. Archibaldo approaches her saying that he is very conflicted between good and evil (it is later revealed that she is somewhat like him). He thinks that Carlota can fix his problems, and proposes to marry her. In the meantime, Archibaldo pursues another woman, Lavinia (Miroslava), whom he met in an antique shop, and later a bar. Lavinia works as a model for mannequins, and also shows American tourists around town. Archibaldo invites Lavinia to his home under false pretenses. He tells her that when they met, she reminded him of Joan of Arc being consumed by flames. He plots to strangle her and burn her in a kiln, but unexpectedly, the doorbell rings. It is Lavinia's tourist friends, the gringuitos. Lavinia has a disappointed Archibaldo take them on a tour of his home. When they leave, Lavinia says that she must go as well, and that she cannot see Archibaldo again because she is getting married. Just as this is happening, Carlota comes in with her mother to accept Archibaldo's proposal. But Archibaldo soon learns of her adulterous relationship, and is displeased. He fantasizes about making her kneel and pray on her wedding night, and shooting her while she is praying. The wedding goes through, however, her jilted ex-lover ends up shooting her instead. After having heard all of this, the judge says that Archibaldo has committed no crimes, and that merely thinking of killing people is not a crime. Archibaldo, despite his intense feelings of guilt, is deemed innocent. As if to be processing this unexpected reaction, Archibaldo takes a walk in the park. He then throws his music box into a lake, and moves on. He runs into Lavinia, whose marriage did not work out. The two walk together and the film ends.

THE TREE OF LIFE (Terrence Malick, 2011)

Around the 1960s,[11] Mrs. and Mr. O'Brien are informed of the death of their 19-year-old son, R.L., throwing the family into turmoil. In 2010, eldest son Jack is adrift in his modern life in Dallas, Texas as an architect, disillusioned by his life full of disappointments. Meanwhile, voiceovers from Mrs. O'Brien ask God why R.L. had to die. Then, visuals depict the birth of the universe, followed by the creation of Earth and the beginning of life. At one point, a dinosaur chooses not to kill another dinosaur that is injured and lying on the side of a river bed. Finally, an asteroid strikes the Earth. In a suburban neighborhood in Waco, Texas in the 1940s,[11] the O'Briens are enthralled by their new baby Jack and later his two brothers, R.L. and Stevie. In the 1950s, Jack is conflicted with accepting the way of grace or nature, as embodied by his parents. Mrs. O'Brien, the embodiment of grace, presents the world to her sons as a place of wonder. Mr. O'Brien, the embodiment of nature, easily loses his temper as he struggles to reconcile his love for his sons, wanting to prepare them for a world he sees as corrupt and exploitative. He laments his decision to work in a power plant instead of pursuing his passion for music, and tries to get ahead by filing patents for various inventions. Jack's perceptions of the world begin to change after his friend Taylor drowns. He questions how God could allow such things to happen, and that if God is malicious, he can be too. He becomes angry at his father's continuous hypocrisies and misdeeds, lashing out at his mother for tolerating him. When Mr. O'Brien goes on a business trip, the boys enjoy unfettered access to their mother, and Jack experiences the first twinges of rebelliousness. Peer-pressured, Jack commits vandalism and animal abuse. When trespassing into his crush's house, he steals her sheer nightgown, then fearfully throws it into a river. Shortly after Mr. O'Brien returns, the plant that he works at closes; he is given the option of relocating to work in an inferior position within the firm or losing his job. As the family packs up to move to the new job, he laments his path of life, asking Jack to forgive his domineering behavior; Jack reflectively says he embodies nature. As Jack leaves work, he rides the elevator up, envisioning following a young girl across rocky terrain. As he walks through a wooden door frame erected on the rocks, he sees a view of the far distant future in which the Sun expands into a red giant, engulfing Earth and then shrinking into a white dwarf. Emerging from rustic doors, Jack follows the girl, then a young version of himself, across surreal landscapes. The dead return to life and gather at the seaside, where Jack is reunited with his family and all those who populate his memory. Jack meets his brothers and brings R.L. to his parents, who bids goodbye as he steps out of a home into a vast expanse. Accompanied by two girls in white, Mrs. O'Brien gracefully whispers, "I give him to you. I give you my son." Jack's vision ends and he leaves the building, smiling contentedly. The mysterious light shown before continues to flicker in the darkness.

TRUE HEART SUSIE (D.W. Griffith, 1919)

As described in a film magazine,[2] "True Heart Susie" (Gish) lives with her aunt (O'Connor) and loves stupid William Jenkins (Harron). Her love is so great that she sacrifices the family cow, a pet of hers, and other farm produce so that he can go to college, but the benefaction is a secret one, and he finishes his theological studies without suspecting that she aided him. He has impressed her that she must dress as plainly as possible, and she is so attired when she goes with him for a "sody" on his triumphant return from college, but his eyes wander to girls giving a more attractive expression of themselves. After he becomes a minister, he cruelly consults Susie about the policy of taking a wife, and almost breaks her heart when he weds gay Bettina "Betty" Hopkins (Seymour), expecting his bride to adopt herself to his colorless life. The young wife fails to satisfy her husband with her cooking, with William finding the dishes Susie makes more to his taste. He begins to regret his marriage, and so does his wife, who escapes the monotony of her marriage by attending a dance at a neighboring house. After she loses her key and gets caught in the rain on the way home, Betty appeals to Susie, who shields her from the consequences as far as the minister is concerned. However, Betty's fright and her soaking bring on a fatal sickness, and it is after her death that her husband learns of her escapade. Although he swears never to marry again, he finds that True Heart Susie has given the one opportunity of his life, and he returns to her with the offering of his hand in marriage.

WHERE IS THE FRIEND'S HOUSE? (Abbas Kiarostami, 1987)

As the film opens Ahmad (Babak Ahmadpour), a grade schooler, watches as his teacher (Khodabakhsh Defai) berates a fellow student, Mohammad Reza, for repeatedly failing to use his notebook for his homework, threatening expulsion on the next offense. When Ahmad returns home, he realizes he's accidentally taken Mohammad Reza's notebook. Against his mother's orders, he sets out in search for Mohammad Reza's house, encountering false leads, dead ends, and distractions as he attempts to enlist adults in his search, most of whom ignore him or cannot answer his questions. When night falls and he has been unable to find his friend's house, Ahmad goes home and does the homework for his friend. The next day the homework is deemed excellent by the teacher.

SHOAH (Claude Lanzmann, 1985)

Overview[edit] Further information: Operation Reinhard The film is concerned chiefly with four topics: the Chełmno extermination camp, where mobile gas vans were first used by Germans to exterminate Jews; the death camps of Treblinka and Auschwitz-Birkenau; and the Warsaw ghetto, with testimonies from survivors, witnesses and perpetrators. The sections on Treblinka include testimony from Abraham Bomba, who survived as a barber;[10] Richard Glazar, an inmate; and Franz Suchomel, an SS officer. Bomba breaks down while describing how he came across the wife and sister of a barber friend of his while cutting hair in the gas chamber.[11] This section includes Henryk Gawkowski, who drove transport trains while intoxicated with vodka. Gawkowski's photograph appears on the poster used for the film's marketing campaign. Testimonies on Auschwitz are provided by Rudolf Vrba, who escaped from the camp before the end of the war;[12] and Filip Müller, who worked in an incinerator burning the bodies from the gassings. Müller recounts what prisoners said to him and describes the experience of personally going into the gas chamber: bodies were piled up by the doors "like stones". He breaks down as he recalls the prisoners starting to sing while being forced into the gas chamber. Accounts include some from local villagers, who witnessed trains heading daily to the camp and returning empty; they quickly guessed the fate of those on board. Jan Karski was interviewed by Lanzmann in the winter of 1978-1979 in Washington, D.C.[13] Lanzmann also interviews bystanders. He asks whether they knew what was going on in the death camps. Their answers reveal that they did, but they justified their inaction by their fear of death. Two survivors of Chełmno are interviewed: Simon Srebnik, who was forced to sing military songs to entertain the Nazis; and Mordechaï Podchlebnik. Lanzmann also has a secretly filmed interview with Franz Schalling, a German security guard, who describes the workings of Chełmno. Walter Stier, a former Nazi bureaucrat, describes the workings of the railways. Stier insists he was simply managing railroad traffic and was not aware that he was transporting Jews directly to their deaths, though he admits to being aware that the destinations were concentration camps. The Warsaw ghetto is described by Jan Karski, a member of the Polish Underground who worked for the Polish government-in-exile, and Franz Grassler, a Nazi administrator in Warsaw who liaised with Jewish leaders. A Christian, Karski sneaked into the Warsaw ghetto and travelled using false documents to England to try to convince the Allied governments to intervene more strongly on behalf of the Jews.[13] Memories from Jewish survivors of the Warsaw Ghetto uprising conclude the documentary. Lanzmann also interviews Holocaust historian Raul Hilberg, who discusses the significance of Nazi propaganda against the European Jews and the Nazi development of the Final Solution and a detailed analysis of railroad documents showing the transport routes to the death camps. The complete text of the film was published in 1985. Franz Suchomel[edit] Corporal Franz Suchomel, interviewed by Lanzmann in Germany on 27 April 1976, was an SS officer who had worked at Treblinka.[14] Suchomel agreed to be interviewed for 500 Deutschmarks, but refused to be filmed, so Lanzmann used hidden recording equipment while assuring Suchomel that he would not use his name. Documentary maker Marcel Ophüls wrote: "I can hardly find the words to express how much I approve of this procedure, how much I sympathize with it."[15] Suchomel talks in detail about the camp's gas chambers and the disposal of bodies. He states that he did not know about the extermination at Treblinka until he arrived there. On his first day he says he vomited and cried after encountering trenches full of corpses, 6-7 m deep, with the earth around them moving in waves because of the gases. The smell of the bodies carried for kilometres depending on the wind, he said, but local people were scared to act in case they were sent to the work camp, Treblinka I.[16]: p.7-8 He explained that from arrival at Treblinka to death in the gas chambers took 2-3 hours for a trainload of people. They would undress, the women would have their hair cut, then they would wait naked outside, including during the winter in minus 10-20 °C, until there was room in the gas chamber. Suchomel told Lanzmann that he would ask the hairdressers to slow down so that the women would not have to wait so long outside.[16]: p.19-20 Compared to the size and complexity of Auschwitz, Suchomel calls Treblinka "primitive. But a well-functioning assembly line of death."[16]: p.16 Man in the poster[edit] Further information: Holocaust trains The publicity poster for the film features Henryk Gawkowski, a Polish railway worker from Malkinia, who, in 1942-1943 when he was 20-21 years old,[17] worked on the trains to Treblinka as an "assistant machinist with the right to drive the locomotive".[18] Conducted in Poland in July 1978, the interview with Gawkowski is shown 48 minutes into the film, and is the first to present events from the victims' perspective. Lanzmann hired a steam locomotive similar to the one Gawkowski worked on and shows the tracks and a sign for Treblinka.[19] Gawkowski told Lanzmann that every train had a Polish driver and assistant, accompanied by German officers.[20] What happened was not his fault, he said; had he refused to do the job, he would have been sent to a work camp. He would have killed Hitler himself had he been able to, he told Lanzmann.[21] Lanzmann estimated that 18,000 Jews were taken to Treblinka by the trains Gawkowski worked on.[20] Gawkowski said he had driven Polish Jews there in cargo trains in 1942, and Jews from France, Greece, Holland and Yugoslavia in passenger trains in 1943. A train carrying Jews was called a Sonderzug (special train); the "cargo" was given false papers to disguise that humans were being hauled.[22] The Germans gave the train workers vodka as a bonus when they drove a Sonderzug; Gawkowski drank liberally to make the job bearable.[23] Gawkowski drove trains to the Treblinka train station and from the station into the camp itself.[22] He said the smell of burning was unbearable as the train approached the camp.[24] The railcars would be driven into the camp by the locomotive in three stages; as he drove one convoy into Treblinka, he would signal to the ones that were waiting by making a slashing movement across his throat. The gesture would cause chaos in those convoys, he said; passengers would try to jump out or throw their children out.[25] Dominick LaCapra wrote that the expression on Gawkowski's face when he demonstrated the gesture for Lanzmann seemed "somewhat diabolical".[26] Lanzmann grew to like Gawkowski over the course of the interviews, writing in 1990: "He was different from the others. I have sympathy for him because he carries a truly open wound that does not heal."[27]

A TRIP TO THE MOON (Georges Méliès, 1902)

At a meeting of the Astronomy Club, its president, Professor Barbenfouillis,[b][c] proposes an expedition to the Moon. After addressing some dissent, five other brave astronomers—Nostradamus,[d] Alcofrisbas,[e] Omega, Micromegas,[f] and Parafaragaramus—agree to the plan. A space capsule in the shape of a bullet is built, along with a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by young women in sailors' outfits. The Man in the Moon watches the capsule as it approaches, and, in an iconic shot, it hits him in the eye.[g] Landing safely on the Moon, the astronomers get out of the capsule (without the need of space suits or breathing apparatus) and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a comet passes, the Big Dipper appears with human faces peering out of each star, old Saturn leans out of a window in his ringed planet, and Phoebe, goddess of the Moon, appears seated in a crescent-moon swing. Phoebe causes a snowfall that awakens the astronomers, and they seek shelter in a cavern where they discover giant mushrooms. One astronomer opens his umbrella; it promptly takes root and turns into a giant mushroom itself. At this point, a Selenite (an insectoid alien inhabitant of the Moon, named after one of the Greek moon goddesses, Selene) appears, but it is killed easily by an astronomer, as the creatures explode if they are hit with force. More Selenites appear, and it becomes increasingly difficult for the astronomers to destroy them as they are surrounded. The Selenites capture the astronomers and take them to the palace of their king. An astronomer lifts the Selenite King off his throne and throws him to the ground, causing him to explode. The astronomers run back to their capsule while continuing to hit the pursuing Selenites, and five get inside. The sixth astronomer, Barbenfouillis himself, uses a rope to tip the capsule over a ledge on the Moon and into space. A Selenite tries to seize the capsule at the last minute. Astronomer, capsule, and Selenite fall through space and land in an ocean on Earth, where they are rescued by a ship and towed ashore. The final sequence (missing from some prints of the film) depicts a celebratory parade in honour of the travellers' return, including a display of the captive Selenite and the unveiling of a commemorative statue bearing the motto "Labor omnia vincit".[h]

THE RED SHOES (Michael Powell & Emeric Pressburger, 1948)

At a performance by the Ballet Lermontov at Covent Garden Opera House, music student Julian Craster is in attendance to hear the ballet score Heart of Fire, composed by his teacher, Professor Palmer. Separately present is Victoria 'Vicky' Page, a young, unknown dancer from an aristocratic background, with her aunt, Lady Neston. As Heart of Fire progresses, Julian recognises the music as one of his own compositions. During the performance, Professor Palmer receives an invitation to an after-ballet party at Lady Neston's residence, also asking Boris Lermontov, the company impresario, to attend. Julian leaves the performance in disillusionment at his professor's plagiarism of his music. Lermontov and Vicky meet, and he invites her to a rehearsal of the company. Julian has written to Lermontov to explain the circumstances behind Heart of Fire, but then tries to retrieve the letter. Lermontov's assistant Dimitri thwarts all attempts by Julian to gain entry to Lermontov's suite, but finally Lermontov gives Julian an audience. Julian says that he wishes to retrieve his letter before Lermontov has seen it, except that Lermontov has already read the letter. Lermontov asks Julian to play one of his own works at the piano. After hearing Julian play, Lermontov realises that Julian was the true composer of Heart of Fire. Lermontov hires Julian as a répétiteur for the company orchestra and assistant to the company's conductor, Livingstone Montague (known colloquially to the company as 'Livy'). Julian and Vicky arrive for work at the Ballet Lermontov on the same day. Later, Vicky dances with Ballet Rambert in a matinee performance of Swan Lake at the Mercury Theatre, Notting Hill Gate, in a production with a company led by Marie Rambert (who appears in the film as herself in a wordless cameo). Watching this performance, Lermontov realises her potential and invites Vicky to go with Ballet Lermontov to Paris and Monte Carlo. He decides to create a starring role for her in a new ballet, The Ballet of the Red Shoes, for which Julian is to provide the music. In three weeks creating the ballet together, Julian and Vicky learn to trust and respect each other as artists. The Ballet of the Red Shoes is a resounding success and Lermontov revitalises the company's repertoire with Vicky in the lead roles and Julian tasked with composing new scores. In the meantime, Vicky and Julian have fallen in love, but keep their relationship secret from Lermontov. Lermontov begins to have personal feelings toward Vicky; he resents the romance between her and Julian after learning of it. The impresario fires Julian; Vicky leaves the company with him. They marry and live in London, where Julian works on composing a new opera. Some time later while travelling, Vicky receives a visit from Lermontov, who convinces her to return to the company to "put on the red shoes again," to dance her famous role once more. On opening night, Julian appears in her dressing room; he has left the première of his opera at Covent Garden to find her and take her back. Lermontov arrives; he and Julian contend for Vicky's affections, each one arguing that her true destiny is with him only. Torn between her love for Julian and her need to dance, she eventually chooses the latter. Julian, realising that he has lost her, leaves for the railway station; Lermontov consoles Vicky and tries to turn her attention to the evening's performance. Vicky is escorted to the stage wearing the red shoes and, seemingly under their influence, turns and runs from the theatre. Julian, on the platform of the railway station, runs towards her. Vicky leaps from a balcony and falls in front of an approaching train, which hits her. Whether this is suicide or murder (by the red shoes) is left ambiguous. Shortly after, a shaken Lermontov appears before the audience to announce that, "Miss Page is unable to dance tonight—nor indeed any other night". As a mark of respect, the company performs The Ballet of the Red Shoes with a spotlight on the empty space where Vicky would have been. As Vicky lies dying on a stretcher she asks Julian to remove the red shoes, just as the ballet ends.

THE MATRIX (Lana Wachowski & Lilly Wachowski, 1999)

At an abandoned hotel, a police squad corners Trinity, who overpowers them with superhuman abilities. She flees, pursued by the police and a group of suited Agents capable of similar superhuman feats. She answers a ringing public telephone and vanishes. Computer programmer Thomas Anderson, known by his hacking alias "Neo", is puzzled by repeated online encounters with the phrase "the Matrix". Trinity contacts him and tells him a man named Morpheus has the answers Neo seeks. A team of Agents and police, led by Agent Smith, arrives at Neo's workplace in search of him. Though Morpheus attempts to guide Neo to safety, Neo surrenders rather than risk a dangerous escape. The Agents offer to erase Neo's criminal record in exchange for his help with locating Morpheus, who they claim is a terrorist. When Neo refuses to cooperate, they fuse his mouth shut, pin him down, and implant a robotic "bug" in his abdomen. Neo wakes up from what he believes to be a nightmare. Soon after, Neo is taken by Trinity to meet Morpheus, and she removes the bug from Neo. Morpheus offers Neo a choice between two pills: Taking the red pill, which will reveal the truth about the Matrix, or the blue, which will make Neo forget everything and return to his former life. Neo takes the red pill, and his reality begins to distort, awakening in a liquid-filled pod among countless other pods, containing other humans. He is then brought aboard Morpheus's flying ship, the Nebuchadnezzar. As Neo recuperates from a lifetime of physical inactivity in the pod, Morpheus explains the situation: In the early 21st century, a war broke out between humanity and intelligent machines. After humans blocked the machines' access to solar energy, the machines responded by enslaving humankind and harvesting their bioelectric power while keeping their minds pacified in the Matrix, a shared simulated reality modeled on the world as it was in 1999. In the years following, the remaining free humans took refuge in the underground city of Zion. Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug" enslaved humans and recruit them; their understanding of the Matrix's simulated nature allows them to bend its physical laws. Morpheus warns Neo that death within the Matrix kills the physical body too and explains that the Agents are sentient programs that eliminate threats to the system, while machines called Sentinels eliminate rebels in the real world. Neo's prowess during virtual training cements Morpheus's belief that Neo is "the One", a human prophesied to free humankind. The group enters the Matrix to visit the Oracle, a prophet-like program who predicted that the One would emerge. She implies to Neo that he is not the One and warns that he will have to choose between Morpheus's life and his own. Before they can leave the Matrix, Agents and police ambush the group, tipped off by Cypher, a disgruntled crew member who has betrayed Morpheus in exchange for a deal to be plugged back into the Matrix to live a comfortable life. To buy time for the others, Morpheus fights Smith and is captured. Cypher exits the Matrix and murders the other crew members as they lie unconscious. Before Cypher can kill Neo and Trinity, crew member Tank regains consciousness and kills him before pulling Neo and Trinity from the Matrix. The Agents interrogate Morpheus to learn his access codes to the mainframe computer in Zion, which would allow them to destroy it. Neo resolves to return to the Matrix to rescue Morpheus, as the Oracle prophesied; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to those of the Agents. After Morpheus and Trinity safely exit the Matrix, Smith ambushes and kills Neo. While a group of Sentinels attack the Nebuchadnezzar, Trinity confesses her love for Neo and says the Oracle told her she would fall in love with the One. Neo is revived, with newfound abilities to perceive and control the Matrix; he easily defeats Smith, prompting the other Agents to flee and he leaves the Matrix just as the ship's electromagnetic pulse disables the Sentinels. Back in the Matrix, Neo makes a telephone call, promising the machines that he will show their prisoners "a world where anything is possible." He hangs up and flies away.

EYES WITHOUT A FACE (Georges Franju, 1960)

At night just outside Paris, a woman drives along a riverbank and dumps a corpse in the river. After the body is recovered, Dr. Génessier identifies the remains as those of his missing daughter, Christiane, whose face was horribly disfigured in an automobile accident that occurred before her disappearance, for which he was responsible. Dr. Génessier lives in a large mansion, which is adjacent to his clinic, with numerous caged German Shepherds and other large dogs. Following Christiane's funeral, Dr. Génessier and his assistant Louise, the woman who had disposed of the dead body earlier, return home where the real Christiane is hidden (it is explained that Louise is deathlessly loyal to Génessier because he repaired her own badly damaged face, leaving only a barely noticeable scar she covers with a pearl choker). The body belonged to a young woman who died following Dr. Génessier's unsuccessful attempt to graft her face onto his daughter's. Dr. Génessier promises to restore Christiane's face and insists that she wear a mask to cover her disfigurement. After her father leaves the room, Christiane calls her fiancé Jacques Vernon, who works with Dr. Génessier at his clinic, but hangs up without saying a word. Christiane (Édith Scob) fails to make a phone call to Jacques Vernon. Scob's face is hidden behind a face-like mask for most of the film. Louise lures a young Swiss girl named Edna Grüber to Génessier's home. Génessier chloroforms Edna and takes her into his secret laboratory. Christiane secretly watches her father and Louise carry Edna to the lab, and then goes to tenderly caress the dogs her father keeps caged, who eagerly accept her love, and are unaffected by her appearance. Dr. Génessier performs heterograft surgery, removing Edna's face. The doctor successfully grafts the skin onto his daughter's face and holds the heavily bandaged and faceless Edna against her will. Edna escapes, but falls to her death from an upstairs window. After disposing of Edna's corpse, Génessier notices flaws on Christiane's face. Her face grows worse within days; the new tissue is being rejected and she must resort to wearing her mask again. Christiane again phones Jacques and this time says his name, but the phone call is interrupted by Louise. Jacques reports the call to the police, who have been investigating the disappearance of several young women with blue eyes and similar facial characteristics. The police have gained a lead concerning a woman who wears a pearl choker, whom Jacques recognizes as Louise. Inspector Parot, an officer investigating Edna's disappearance, hires a young woman named Paulette Mérodon (recently arrested for shoplifting) to help investigate by checking herself into Génessier's clinic. After being declared healthy, Paulette leaves for Paris and is promptly picked up by Louise, who delivers her to Dr. Génessier. Génessier is about to begin surgery on Paulette when Louise informs him that the police want to see him. While the doctor talks with the police, Christiane, who has long been disenchanted with her father's experiments, while slowly losing her sanity from guilt and isolation, frees Paulette and murders Louise by stabbing her in the neck. She also frees the dogs and doves that her father uses for experiments. Dr. Génessier dismisses the police (who readily accept his explanations) and returns to his lab, where an abandoned German Shepherd he had only recently obtained for his experiments attacks him, inciting the other dogs to follow suit—maddened by pain and confinement, they maul him to death, disfiguring his face in the process. Christiane, unmoved by her father's death, walks slowly into the woods outside Génessier's house with one of the freed doves in her hands.

THE BEST YEARS OF OUR LIVES (William Wyler, 1946)

At the end of World War II, three veterans - (USAAF bombardier captain Fred Derry, U.S. Navy petty officer Homer Parrish, and U.S. Army sergeant Al Stephenson) - meet on a flight to their midwestern hometown of Boone City. Before the war, Fred was a drug store soda jerk who lived with his parents in the poorer part of town. Shortly before shipping out, Fred married Marie after a whirlwind romance; she has since been working in a nightclub, and enjoyed the extra income that Fred's military pay afforded her, without much thought to her husband. Al worked as an officer at the local bank and lived in an upscale apartment with his wife, Millie, and their children, Peggy and Rob. Homer was a star high school athlete living with his middle-class parents and younger sister. Homer had also been dating his next-door neighbor, Wilma, committed to marrying upon his return. Each man faces challenges integrating back into civilian life. Homer lost both hands in the war and though he has become quite functional in the use of his mechanical hooks, he cannot believe that Wilma will still want to marry him. Al, tired and jaded from the war, returns to the bank and is given a promotion, but wrestles with alcohol. Though highly decorated, Fred suffers from PTSD flashbacks by night, is unable to find a better job than soda jerk and returns to the same drug store. Fred and Peggy develop an attraction for each other, which ultimately puts the married Fred at odds with Al. Although proficient in managing the challenges of his disability, Homer is frustrated by his loss of independence and adjusting to his relationship with Wilma, who loyally remains by his side. Al continues to struggle with re-entry into normal life. Widely respected by the bank's senior management for his past business acumen, Al approves an unsecured loan to a farmer and fellow veteran. His behavior is made worse by his excessive drinking. All three characters' individual stories come to a head. When Homer visits Fred at the drug store, another customer criticizes U.S. involvement in the war and tells Homer his injuries were not necessary. Homer responds in anger, and Fred intervenes on Homer's behalf, punching the customer and then being fired for it. Meanwhile, Fred's wife, Marie, frustrated with his lack of financial success and missing her past nightlife, tells Fred she is getting a divorce. Bitter, and seeing no future in Boone City, particularly with Al telling Fred to stay away from Peggy, Fred decides to pack up and catch the next plane out. While waiting at the airport, Fred walks into an aircraft boneyard, where he climbs into one of the decommissioned B-17 bombers. Sitting in the bombardier's seat, Fred has another flashback. He is roused out of his stressful memories by a work crew foreman, who informs him that the planes are being demolished for use in the growing pre-fab housing industry. Fred asks him if they need any help in the budding business, and is hired. Al, Millie, and Peggy attend Homer's and Wilma's wedding, where Fred is best man. Now divorced, Fred reunites with Peggy after the ceremony. Fred expresses his love but tells her things may be financially difficult if she stays with him. Peggy's smile makes it clear she will remain committed to Fred.

PORTRAIT OF A LADY ON FIRE (Céline Sciamma, 2019)

At the end of the eighteenth century, Marianne, a painter, is teaching an art class in France. One of her female students asks her about a painting of hers, which Marianne calls Portrait de la jeune fille en feu. Years previously, Marianne arrives on a distant island in Brittany. She has been commissioned to paint a portrait of a young woman of the gentry named Héloïse, who is to be married off to a Milanese nobleman. Marianne is informed by Héloïse's mother, the Countess, that she has previously refused to pose for portraits, as she does not want to be married; she had been living in a convent before the suicide of her older sister necessitated her return and her betrothal. Marianne acts as Héloïse's hired companion to be able to paint her in secret and accompanies her on daily walks along the rugged coastline to memorize Héloïse's features. Marianne finishes the portrait, but finds herself unable to betray Héloïse's trust and reveals her true reason for arriving. After Héloïse criticises the painting, which does not seem to portray her true nature, Marianne destroys the work. After seeing the destroyed work, Marianne explains her actions to the Countess by saying that she can create a better painting. As the Countess is getting ready to fire Marianne, Héloïse says that she will pose for Marianne. The Countess is shocked to hear this and gives Marianne five days to complete the new portrait while she is away on the mainland. Marianne is haunted throughout the house by visions of Héloïse in a wedding dress. One evening, they read the story of Orpheus and Eurydice and debate the true reason why Orpheus turns around to look at his wife, causing her to be returned to the underworld. Later, the two go to a bonfire gathering where women sing, during which Héloïse's dress briefly catches fire. The next day, Marianne and Héloïse share their first kiss and have sex later that night, including cunnilingus. Both women have several orgasms. The pair spend the next few days together, during which their romance grows stronger, and they help Sophie, the housemaid, have an abortion. With their affair about to be cut short by the ensuing return of the Countess, Marianne sketches a drawing of Héloïse to remember her by, and Héloïse asks Marianne to draw a nude sketch of herself on page 28 of her book. The Countess approves of the now completed portrait, and the next morning Marianne bids farewell. As she is about to leave the house, she hears Héloïse say, "Turn around". She turns and sees Héloïse in her wedding dress. In the present, Marianne reveals that she saw Héloïse two more times. The first was in the form of a portrait at an art exhibition, in which Héloïse, with a child beside her, is portrayed holding a book and surreptitiously revealing the edge of page 28. The second time was at a concert in Milan, where she notices Héloïse among the patrons seated in the balcony across the theater from her. Unobserved, Marianne watches as Héloïse, remembering her sexual trysts with Marianne, overwhelmed with lust, is brought to tears listening to the orchestra playing the Presto from "Summer" in Vivaldi's Four Seasons, the music that Marianne had played for her on a harpsichord years before.

THE GREEN RAY (Eric Rohmer, 1986)

At the start of summer vacation, Delphine has just suffered the breakup of a relationship and her traveling companion has ditched her so that her new boyfriend can accompany her to Greece instead. She is left without plans at a time when Paris is emptying for the summer. Another friend invites Delphine to join a beach party in Cherbourg for the weekend, but she finds that she is the only one amongst the group who is single so she quickly returns to Paris. Her family pressures her to spend the holidays with them in Ireland, but she resists. She travels alone to the Alps, but is put off by hordes of vacationers and turns around. Traveling restlessly, the theme of the movie (characterized by Roger Ebert) becomes clear: Delphine "is incapable of playing the dumb singles games that lead to one-night stands".[2] She meets a new girlfriend, who flirts with two young men and she flees in anger. She recoils from the chat-up lines of the guys she meets in bars and on trains. She simply cannot engage in that kind of mindless double-talk any longer. Beneath her boredom is genuine anger at the roles that single women are sometimes expected to play.[2] While in Biarritz, she eavesdrops on a conversation about Jules Verne's novel Le Rayon Vert (The Green Ray). According to Verne, when one sees a rare green flash at sunset, one's own thoughts and those of others are revealed as if by magic. At the Biarritz railway station she meets a young man who is travelling to Saint-Jean-de-Luz. She goes with him and together they observe le rayon vert (the green flash).

ELEPHANT (Gus Van Sant, 2003)

At the start of the film, John McFarland is being driven to school by his father, who is driving erratically down the road. Noticing the damage done to the car, John realizes that his father is drunk and makes him move to the passenger seat so he can drive. When John arrives at school late, he is reprimanded by the principal, Mr. Luce. The majority of the film is spent following several high school students going about their daily lives just before a school shooting. In addition to John, who struggles with controlling his alcoholic father, photography student Elias builds a portfolio of other students. Outcast Michelle struggles with her body issues and assists in the library. Bulimics Nicole, Brittany, and Jordan gripe about their parents and squabble while popular athlete and lifeguard Nathan meets with his girlfriend, Carrie. Acadia, a close friend of John's, attends a Gay-Straight Alliance meeting. Unknown to anyone, two other students, Alex and Eric, are preparing to carry out a bomb/shooting attack on their school. Flashbacks throughout the film show them preparing for the massacre by ordering weapons online and formulating an attack plan. The two have a brief sexual encounter in the shower after they both admit that they've never kissed anyone before. Their motives for the shooting appear vague; the film provides evidence suggesting bullying, neglect, violent video games, and Nazism. On the day of the shooting, the pair make their way to school in Alex's car. Alex is armed with a Carbon-15 and a shotgun while Eric has a TEC-9. As they enter the school, they encounter John, and Alex tells him to leave. Realizing what is about to happen, John tries to warn students and teachers outside not to go into the school, but few people listen. He then notices his dad is missing after they arrived earlier and goes looking for him. Alex and Eric plant propane bombs in the cafeteria, hoping to blow it up and shoot people as they try to escape the fire. When the bombs fail, they decide to start shooting indiscriminately. The pair head into the library, where Elias photographs them right before they open fire on students. Michelle is killed, while Elias' fate is left unclear. Other students quickly realize that the gunfire is real and begin to panic, and teachers begin evacuating students. Alex and Eric split up to opposing ends of the school to continue their shooting. Alex enters the girls' bathroom where he surprises Jordan, Nicole, and Brittany, presumably shooting all three. A student attending the Gay-Straight Alliance meeting enters the hallway investigating the gunfire and is shot dead. The alliance members evacuate through a window save for Acadia, who freezes at the sight of her dead classmate. Benny, an African-American student athlete, finds her and helps her out the window before deciding to find the shooters. After rescuing the student, he is killed. Outside the school, John finds his now sobered-up father, who tries to comfort his son as the shooting continues. While helping students escape, Mr. Luce is cornered and threatened by Eric, prompting Mr. Luce to try and reason with him. Benny walks up behind Eric, and Eric abruptly turns around and shoots Benny dead. Eric tells Mr. Luce not to treat kids like him and Alex poorly. He then lets Mr. Luce go, only to gun him down seconds later. Alex enters the cafeteria, which is strewn with overturned chairs, backpacks, several dead bodies, and numerous abandoned half-eaten lunches, and sits down. Alex picks up a cup from an abandoned lunch and casually drinks from it. Eric meets up with him, and they have a brief conversation about who they've shot, which ends when Alex shoots Eric mid-sentence. Alex leaves the cafeteria, showing no emotion over killing Eric, and discovers Carrie and Nathan hiding in a freezer. He tauntingly recites "Eeny, meeny, miny, moe" to them to decide whom he should kill first. The film then cuts to credits leaving the ending ambiguous.

MAKE WAY FOR TOMORROW (Leo McCarey, 1937)

Barkley "Bark" (Victor Moore) and Lucy Cooper (Beulah Bondi) are an elderly couple who lose their home to foreclosure, as Barkley has been unable to find employment because of his age. They summon four of their five children—the fifth lives thousands of miles away in California—to break the news and decide where they will live until they can get back on their feet. Only one of the children, Nell (Minna Gombell), has enough space for both, but she asks for three months to talk her husband into the idea. In the meantime, the temporary solution is for the parents to split up and each live with a different child. The two burdened families soon come to find their parents' presence bothersome. Nell's efforts to talk her husband into helping are half-hearted and achieve no success, and she reneges on her promise to eventually take them. While Barkley continues looking for work to allow him and his wife to live independently again, he has little or no prospect of success. When Lucy continues to speak optimistically of the day that he will find work, her teenage granddaughter bluntly advises her to "face facts" that it will never happen because of his age. Lucy's sad reply is to say that "facing facts" is easy for a carefree 17-year-old girl, but that at Lucy's age, the only fun left is "pretending that there ain't any facts to face ... so would you mind if I just kind of went on pretending?" With no end in sight to the uncomfortable living situations, both host families look for a way to get the parent they are hosting out of their house. When Barkley catches a cold, his daughter Cora (Elisabeth Risdon) seizes upon it as a pretext to assert that his health demands a milder climate, thus necessitating that he move to California to live with his daughter Addie. Meanwhile, son George (Thomas Mitchell) and his wife Anita (Fay Bainter) begin planning to move Lucy into a retirement home. Lucy accidentally finds out about their plans, but rather than force George into the awkward position of breaking the news to her, she goes to him first and claims that she wants to move into the home. Meanwhile, Barkley resigns himself to his fate of having to move thousands of miles away, though he too is entirely aware of his daughter's true motivation. On the day Barkley is to depart by train, he and Lucy make plans to go out and spend one last afternoon together before having a farewell dinner with the four children. They have a fantastic time strolling around the city and reminiscing about their happy years together, even visiting the same hotel in which they had stayed on their honeymoon 50 years prior. Their day is made so pleasant partly because of the kindness of people they encounter, who, although strangers, seem to find them a charming couple, to genuinely enjoy their company, and to treat them with deference and respect—in stark contrast to the treatment the two are receiving from their children. Eventually Barkley and Lucy decide to continue their wonderful day by skipping the farewell dinner and dining at the hotel instead; when Barkley informs their daughter with a blunt phone call, it prompts introspection among the four children. Son Robert (Ray Meyer) suggests that each of the children has always known that collectively they are "probably the most good-for-nothing bunch of kids that were ever raised, but it didn't bother us much until we found out that Pop knew it too." George notes that it is now so late in the evening that they won't even have time to meet their parents at the train station to send off their father. He says that he deliberately let the time pass until it was too late because he figured their parents would prefer to be alone. Nell objects that if they don't go to the station, their parents "will think we're terrible," to which George matter-of-factly replies, "Aren't we?" At the train station, Lucy and Barkley say their farewells to one another. On the surface, their conversation echoes Lucy's comments to her granddaughter about preferring to pretend, rather than facing facts. Barkley tells Lucy that he will find a job in California and quickly send for her; Lucy replies that she is sure he will do so. They then offer each other a truly final goodbye, saying that they are doing so "just in case" they do not see each other again because "anything could happen." Each makes a heartfelt statement reaffirming their lifelong love, in what seems an unspoken acknowledgment that it is almost certainly their final moment together. Barkley boards the train, and Lucy and he acknowledge each other and wave through the closed window as the train pulls away. A somber Lucy turns from the scene.

STROMBOLI (Roberto Rossellini, 1950)

Bergman plays Karin, a displaced Lithuanian in Italy, who secures release from an internment camp by marrying an Italian ex-POW fisherman (Mario Vitale), whom she meets in the camp. He promises her a great life in his home island of Stromboli, a volcanic island located between the mainland of Italy and Sicily. She soon discovers that Stromboli is very harsh and barren, not at all what she expected, and the people, very traditional and conservative, many fishermen, show hostility and disdain towards this foreign woman who does not follow their ways. Karin becomes increasingly despondent and eventually decides to escape the volcano island.

LOST IN TRANSLATION (Sofia Coppola, 2003)

Bob Harris is a fading American movie star who arrives in Tokyo to appear in lucrative advertisements for Suntory whisky. He stays at the upscale Park Hyatt Tokyo and is miserable due to problems within his 25-year marriage and a midlife crisis. Charlotte, another American staying at the hotel, is a young Yale graduate in philosophy who is accompanying her husband John while he works as a celebrity photographer. Charlotte is feeling similarly disenchanted as she questions her marriage and is anxious about her future. They both struggle with additional bouts of jet lag and culture shock in Tokyo and pass the time loitering around the hotel. Charlotte is repelled by a vacuous Hollywood actress named Kelly, who is also at the hotel promoting a film. She bumps into Charlotte and John, gushing over photography sessions she has previously done with him. Bob and Charlotte frequently cross paths in the hotel and eventually introduce themselves to each other in the hotel bar. After several encounters, when John is on assignment outside Tokyo, Charlotte invites Bob into the city to meet some local friends. They bond over an evening in Tokyo, where they experience the city nightlife together. In the days that follow, Bob and Charlotte spend more time together, and their friendship strengthens. One night, while neither can sleep, the two share an intimate conversation about Charlotte's personal uncertainties and their married lives. Bob spends the night with a jazz singer from the hotel bar on the penultimate night of his stay and Charlotte hears the woman singing in Bob's room the next morning, leading to tension between Bob and Charlotte during lunch together later that day. The pair re-encounter each other in the evening and Bob reveals that he will be leaving Tokyo the following day. Bob and Charlotte reconcile and express how they will miss each other, making a final visit to the hotel bar. The next morning, when Bob is leaving the hotel, he and Charlotte share sincere but unsatisfactory goodbyes. On Bob's taxi ride to the airport, he sees Charlotte on a crowded street, stops the car, and walks to her. He then embraces her and whispers something in her ear. The two share a kiss and say goodbye before Bob departs.

VIRIDIANA (Luis Buñuel, 1961)

Before taking her final vows as a nun, Viridiana is told to pay a visit to her only living relative, an uncle who paid for her education and upkeep. This is Don Jaime, a recluse with a decaying mansion and estate who is looked after by a servant named Ramona. On her last night there, Don Jaime reveals that his wife (who looked exactly like Viridiana) died in their bed on their wedding night and begs Viridiana to wear the wedding dress and veil that he has lovingly preserved. After drugging her coffee, he carries her to the bed and is about to rape her when he regains control of himself. In the morning he says that she cannot now return to the convent because she is no longer a virgin, but she packs her things and flees. Although he calls out that it was a lie and begs her to stay, she is waiting at a bus stop when the police find her and take her back to the mansion. Don Jaime has hung himself from a tree, leaving a will that divides his assets between Viridiana and an illegitimate son named Jorge. Deciding that she cannot now live as a nun, Viridiana resolves instead to help those in need and collects vagrants, who she houses and feeds in the outbuildings. Jorge arrives with Lucía, a girl friend, and throws himself into renovating the neglected land and buildings, as well as starting a clandestine relationship with Ramona. Bored by rustic isolation and jealous of Viridiana, who Jorge would like to add to his conquests, Lucía leaves. One night when Jorge and Viridiana have gone to town on business with Ramona, the beggars break into the mansion. Initially they just pry and pocket things but then decide to stage a banquet, complete with group photograph to the sound of the Hallelujah Chorus in a parody of The Last Supper, which descends into a drunken orgy of sex and destruction. When the owners return, most of the beggars flee but two of the men capture Jorge and Viridiana, tying him up while one starts raping Viridiana at knife-point. As the other waits his turn, Jorge persuades him with cash to kill the rapist. The police arrive, fetched by Ramona. A few nights later Ramona and Jorge are playing cards in his bedroom to hit music[a] when they see Viridiana and he asks her in to make up a threesome. As if drugged, she walks in to her fate. Censored ending[edit] The Spanish board of censors rejected the original ending of the film, which depicted Viridiana entering Jorge's room and slowly closing the door behind her. A new ending was written and accepted that, according to some film historians, is even more debauched, if less explicit, than the first, as it implies a ménage à trois consisting of Jorge, Ramona, and Viridiana.[3] The released version of the film ends with Jorge saying: "You know, the first time I saw you, I thought, 'My cousin and I will end up shuffling the deck together.'"

THE GOLD RUSH (Charles Chaplin, 1925)

Big Jim, a gold prospector during the Klondike Gold Rush, in Alaska, has just found an enormous gold deposit on his parcel of land when a blizzard strikes. The Lone Prospector gets lost in the same blizzard while also prospecting for gold. He stumbles into the cabin of Black Larsen, a wanted criminal. Larsen tries to throw the Prospector out when Jim also stumbles inside. Larsen tries to scare both out using his shotgun but is overpowered by Jim, and the three agree to an uneasy truce allowing them all to stay in the cabin. When the storm is taking so long that food is running out, the three draw lots for who will have to go out into the blizzard to obtain something to eat. Larsen loses and leaves the cabin. While outside looking for food, he encounters Jim's gold deposit and decides to ambush him there when Jim returns. Meanwhile, the two remaining in the cabin get so desperate that they cook and eat one of the Prospector's shoes. Later, Jim gets delirious, imagines the Prospector as a giant chicken and attacks him. At that moment, a bear enters the cabin and is killed, supplying them with food. 1:35:09The Gold Rush 1925(full movie, public domain) After the storm subsides, both leave the cabin, the Prospector continuing on to the next gold boom town while Jim returns to his gold deposit. There, he is knocked out by Larsen with a shovel. While fleeing with some of the mined gold, Larsen is killed by an avalanche. Jim recovers consciousness and wanders into the snow, having lost his memory from the blow. When he returns to the town, his memory has been partly restored and he remembers that he had found a large gold deposit, that the deposit was close to a certain cabin, and that he had stayed in the cabin with the Prospector. But he knows neither the location of the deposit nor of the cabin, and so goes out looking for the Prospector, hoping that he can lead him to the cabin. The Prospector arrives at the town and encounters Georgia, a dance hall girl. To irritate Jack, a ladies' man who is making aggressive advances toward her and is pestering her for a dance, she instead decides to dance with "the most deplorable looking tramp in the dance hall", the Prospector, who instantly falls in love with her. After encountering each other again, she accepts his invitation for a New Year's Eve dinner, but does not take it seriously and soon forgets about it. On New Year's Eve, while waiting for her to arrive to the dinner, the Prospector imagines entertaining her with a dance of bread rolls on forks. When she does not arrive until midnight, he walks alone through the streets, desperate. At that moment, she remembers his invitation and decides to visit him. Finding his home empty but seeing the meticulously prepared dinner and a present for her, she has a change of heart and prepares a note for him in which she asks to talk to him. When the Prospector is handed the note, he goes searching for Georgia. But at the same moment, Jim finds him and drags him away to go search for the cabin, giving the Prospector only enough time to shout to Georgia that he soon will return to her as a millionaire. Jim and the Prospector find the cabin and stay for the night. Overnight, another blizzard blows the cabin half over a cliff right next to Jim's gold deposit. The next morning the cabin is rocking dangerously over the cliff edge while the two try to escape. At last Jim manages to get out and pull the Prospector to safety right when the cabin falls off the cliff. One year later both have become wealthy, but the Prospector never was able to find Georgia. They return to the contiguous United States on a ship on which, unknown to them, Georgia is also traveling. When the Prospector agrees to don his old clothes for a photograph, he falls down the stairs, encountering Georgia once more. After she mistakenly thinks he is a stowaway and tries to save him from the ship's crew, the misunderstanding is cleared up and both are happily reunited.

FIVE EASY PIECES (Bob Rafelson, 1970)

Bobby Dupea works in an oil field in Kern County, California. He spends most of his time with his girlfriend Rayette, a waitress who has dreams of singing country music, or with his friend, fellow oil worker Elton, with whom he bowls, gets drunk, and philanders. While Bobby acts the part of a blue-collar laborer, he is secretly a former classical pianist who comes from an upper-class family of musicians. When Bobby gets Rayette pregnant and Elton is arrested, Bobby quits his job and goes to Los Angeles, where his sister Partita, also a pianist, is making a recording. Partita tells him that their father, from whom Bobby is estranged, has suffered two strokes, and urges him to return to the family home in Washington. Rayette threatens to kill herself if Bobby leaves her, so he reluctantly asks her along. Driving north, they pick up two stranded women headed for Alaska, Terry and Palm. The latter launches into a monologue about the evils of consumerism. The four are thrown out of a restaurant after Bobby gets into a sarcastic argument with an obstinate waitress who refuses to accommodate his request for toast. Embarrassed by Rayette's lack of polish, Bobby registers her in a motel before driving alone to the family home on an island in Puget Sound. He finds Partita giving their father a haircut, and the old man seems completely oblivious to him. At dinner, Bobby meets Catherine Van Oost, a young pianist engaged to his amiable brother Carl, a violinist. Despite personality differences, Catherine and Bobby are immediately attracted to each other and later have sex in her room. Rayette runs out of money at the motel and comes to the Dupea estate unannounced. Her presence creates an awkward situation, but when a pompous family friend, Samia Glavia, ridicules her, Bobby comes to her defense. Storming from the room in search of Catherine, he discovers his father's male nurse giving Partita a massage. He picks a fight with the very strong nurse, who easily subdues him. Bobby tries to persuade Catherine to go away with him, but she declines, telling him he cannot ask for love when he does not love himself, or anything at all. After trying to talk to his unresponsive father, Bobby leaves with Rayette. Shortly into the trip, they stop for gas, and while Rayette goes into a diner for coffee, Bobby abandons her, hitching a ride on a truck headed north.

THE CROWD (King Vidor, 1928)

Born on the Fourth of July, 1900, John Sims (James Murray) loses his father when he is twelve. At 21, he sets out for New York City, where he is sure he will become somebody important, just as his father had always believed. Another boat passenger tells him he will have to be good in order to stand out from the crowd. John gets a job as one of many office workers of the Atlas Insurance Company. Fellow employee Bert (Bert Roach) talks him into a double date to Coney Island. John is so smitten with Mary (Eleanor Boardman), he proposes to her at the end of the date; she accepts. Bert predicts the marriage will last a year or two. A Christmas Eve dinner in their tiny apartment with Mary's mother (Lucy Beaumont) and two brothers (Daniel G. Tomlinson and Dell Henderson), with whom John is not on friendly terms, ends badly. John goes to Bert's to get some liquor. A young woman there throws herself at him, complimenting him on his looks, and starts to dance with him. John returns home very late and very drunk. Mary's family has gone home, and she tells him that they do not understand him. They exchange Christmas gifts and John compliments her, but yells at her when she does something trivial. In April, they quarrel and Mary threatens to leave, and is shocked and hurt by John's apathy when he does not try to stop her. The couple reconciles when Mary tells John that she is pregnant. She gives birth to a son. Over the next five years, the couple have a daughter and an $8 raise, but Mary is dissatisfied with John's lack of advancement, especially compared to Bert, and in light of John's big talk about his prospects. Finally, John wins $500 for an advertising slogan; and buys presents for his family. When he and Mary urge their children to rush home to see their gifts, their daughter is killed by a truck. John is so overcome with grief, he cannot function at work. When reprimanded, he quits. John gets other jobs, but cannot hold onto any of them. Mary's brothers reluctantly offer him a position, but John is too proud to accept what he deems a "charity job". In a fit of rage, Mary slaps him. John goes for a walk, contemplates suicide, but his son goes with him. The child's unconditional love for him makes him rethink his situation, and he changes his mind. John gets work as a sandwich board carrier and returns home, his optimism renewed, only to find Mary about to leave with her brothers. She steps out of the house, but no further. She loves John too much to abandon him. The reconciled family attends a vaudeville comedy show, with the final shot showing them overcome with laughter, and lost in the crowded audience of laughing people.

FITZCARRALDO (Werner Herzog, 1982)

Brian Sweeney "Fitzcarraldo" Fitzgerald is an Irishman living in Iquitos, a small city east of the Andes in the Amazon Basin in Peru in the early part of the 20th century, when the city grew exponentially during the rubber boom. He has an indomitable spirit, but is little more than a dreamer with one major failure already behind him - the bankrupted and incomplete Trans-Andean railways. A lover of opera and a great fan of the internationally known Italian tenor Enrico Caruso, he dreams of building an opera house in Iquitos. Numerous Europeans and North African Sephardic Jewish immigrants have settled in the city at this time, bringing their cultures with them. The opera house will require considerable amounts of money, which the booming rubber industry in Peru should yield in profits. The areas in the Amazon Basin known to contain rubber trees have been parceled up by the Peruvian government and are leased to private companies for exploitation. Fitzcarraldo explores entering the rubber business. A helpful rubber baron points out on a map the only remaining unclaimed parcel in the area. He explains that while it is located on the Ucayali River, a major tributary of the Amazon, it is cut off from the Amazon (and access to Atlantic ports) by a lengthy section of rapids. Fitzcarraldo sees that the Pachitea River, another Amazon tributary, comes within several hundred meters of the Ucayali upstream of the parcel.[3] He plans to investigate that. He leases the inaccessible parcel from the government. His paramour, Molly, a successful brothel owner, funds his purchase of an old steamship (which he christens the SS Molly Aida). After recruiting a crew, he takes off up the Pachitea, the parallel river. This river has dangerous interior areas because of its indigenous people hostile to outsiders. Fitzcarraldo plans to go to the closest point between the two rivers and, with the manpower of impressed natives (who are nearly enslaved by many rubber companies), physically pull his three-deck, 320-ton steamer over the muddy 40° hillside across a portage from one river to the next.[4] Using the steamer, he will collect rubber produced on the upper Ucayali and bring it down the Pachitea and the Amazon to market at Atlantic ports. The majority of the ship's crew, at first unaware of Fitzcarraldo's plan, abandon the expedition soon after entering indigenous territory, leaving only the captain, engineer, and cook. Impressed by Fitzcarraldo and his ship, the natives start working for him without fully understanding his goals. After great struggles, they successfully pull the ship over the mountain with a complex system of pulleys, worked by the natives and aided by the ship's anchor windlass. When the crew falls asleep after a drunken celebration, the chief of the natives severs the rope securing the ship to the shore. It floats down the river. The chief wanted to appease the river gods, who would otherwise be angered that Fitzcarraldo defied nature by circumventing them. Though the ship traverses the Ucayali rapids without major damage, Fitzcarraldo and his crew are forced to return to Iquitos without any rubber. Despondent, Fitzcarraldo sells the ship back to the rubber baron, but first sends the captain on a last voyage. He returns with the entire cast for the first opera production, including Caruso. The entire city of Iquitos comes to the shore as Fitzcarraldo, standing on top of the ship, proudly displays the cast.

ALL ABOUT EVE (Joseph L. Mankiewicz, 1950)

Broadway star Margo Channing (Bette Davis) recently turned 40 and worries about what advancing age will mean for her career. After a performance of Margo's latest play Aged in Wood, Margo's close friend, Karen Richards (Celeste Holm), wife of the play's author Lloyd Richards (Hugh Marlowe), brings besotted fan Eve Harrington (Anne Baxter) backstage to meet Margo. In Margo's dressing room - , Eve tells Karen, Lloyd, and Margo's maid Birdie Coonan (Thelma Ritter) - that she followed Margo's last theatrical tour to New York City after seeing her perform in San Francisco. She tells an engrossing story of growing up poor in Wisconsin and losing her young husband, Eddie in the South Pacific during World War II. Margo, moved by Eve's story, takes her into her home and hires her as her assistant, upsetting Birdie. Eve quickly manipulates her way into Margo's life, acting as both secretary and adoring fan. She places a long-distance phone call to Margo's boyfriend Bill Sampson (Gary Merrill) when Margo forgets his birthday. Margo grows increasingly distrustful and bitter toward Eve, particularly after catching Eve taking a bow to an empty theater while pretending to wear Margo's costume. Margo asks producer Max Fabian (Gregory Ratoff) to hire Eve at his office, but instead, Eve becomes Margo's understudy without Margo's knowledge. As Margo's irritation grows, Karen sympathizes with Eve. Hoping to humble Margo, Karen conspires for her to miss a performance so that Eve can perform. Eve invites the city's theater critics to attend the performance - including the acerbic Addison DeWitt (George Sanders). Eve's performance is a triumph. Later that night, Bill rejects Eve's attempts to seduce him. Instead, Addison takes her under his wing and interviews her for a column, harshly criticizing Margo for resisting younger talent. Margo and Bill announce their engagement at dinner with Lloyd and Karen. Eve summons Karen to the ladies' room and, after first appearing regretful, delivers an ultimatum: Karen must recommend her to Lloyd to play Cora, the lead role in Lloyd's new play. Otherwise, she will reveal Karen's part in Margo's missed performance. When Karen returns to the table, Margo surprisingly announces that she does not wish to play Cora, saying she is too old for the role. Eve is cast as Cora. Just before the new play's premiere in New Haven, Eve reveals her next plan to Addison: to marry Lloyd, whom she claims loves her, so that he can write plays for her to star in. Angered with Eve's audacity, Addison says he knows her backstory is false; her real name is Gertrude Slescynski, she was never married, and she was paid to leave town over an affair with her married boss. Addison then blackmails Eve, saying she now "belongs" to him. Months later, Eve is a Broadway star headed for Hollywood. While accepting an award at a banquet, she thanks Margo, Bill, Lloyd, and Karen as all four stare back coldly. Eve skips the after-party and returns home. There she encounters Phoebe (Barbara Bates), a teenage fan who slipped into her apartment and fell asleep. Phoebe (which she admits is not her real name) professes her adoration and tries to ingratiate herself with Eve, offering to pack Eve's trunk for Hollywood. Eve invites her to stay over rather than take the long subway ride back to Brooklyn. While Eve is resting, Addison brings Eve's award to the door and is greeted by Phoebe. He realizes Phoebe will do to Eve what Eve did to Margo. When he leaves, and out of Eve's sight, Phoebe puts on Eve's elegant cloak and poses in front of a floor-length mirror, holding the award and bowing.

SHERLOCK JR. (Buster Keaton, 1924)

Buster is a movie theater projectionist and janitor. When the cinema is empty, he reads a book on How to be a Detective. He is in love with a beautiful loveable girl. However, he has a rival, the "local sheik". Neither has much money. He finds a dollar note in the garbage he swept up in the lobby. He takes it and adds it to the $2 he has. A girl comes and says that she lost a dollar. He gives it back. But then a sad old woman also says that she lost a dollar, so he gives that also, leaving himself with $1. A man comes and searches the garbage and finds a wallet full of money. The projectionist buys a $1 box of chocolates, all he can afford, and changes the price to $4 before giving it to her at her house. He later gives her a ring. The sheik comes into the house and steals the girl's father's pocket watch and pawns it for $4. With the money, he buys a $3 box of chocolates for the girl. When the father notices that his watch is missing, the sheik slips the pawn ticket into the projectionist's pocket unnoticed. The projectionist, studying to be a detective, offers to solve the crime, but when the pawn ticket is found in his pocket, he is banished from the girl's home. However, when the sheik leaves, he walks closely behind him and shadows every movement. The girl takes the pawn ticket to the pawnbroker and asks him to describe who pawned it. He points to the sheik outside. While showing a film (advertised in the lobby as "Hearts and Pearls") about the theft of a pearl necklace, the projectionist falls asleep and dreams that he enters the movie as a detective, Sherlock Jr. The other actors are replaced by the projectionist's "real" acquaintances. The dream begins with the theft being committed by the villain with the aid of the butler. The girl's father calls for the world's greatest detective, and Sherlock Jr. arrives. Fearing that they will be caught, the villain and the butler attempt to kill Sherlock through several traps, poison, and an elaborate pool game with an exploding 13 ball. When these fail, the villain and butler try to escape. Sherlock Jr. tracks them down to a warehouse but is outnumbered by the gang to which the villain was selling the necklace. During the confrontation, Sherlock discovers that they have kidnapped the girl. With the help of his assistant, Gillette, Sherlock Jr. manages to save the girl, and after a car chase, manages to defeat the gang. When he awakens, the girl shows up to tell him that she and her father learned the identity of the real thief after she went to the pawn shop to see who actually pawned the pocket watch. As a reconciliation scene happens to be playing on the screen, the projectionist mimics the actor's romantic behavior.

THE CAMERAMAN (Buster Keaton & Edward Sedgwick, 1928)

Buster, a sidewalk tintype portrait photographer in New York City, develops a crush on Sally, a secretary who works for MGM Newsreels. To be near her, he purchases an old film camera, emptying his bank account, and attempts to get a job as one of MGM's cameramen. Harold, an MGM cameraman who has designs on Sally himself, mocks his ambition. Sally, however, encourages Buster and suggests he film anything and everything. Buster's first attempts show his total lack of experience. He double exposes or over exposes much of the footage, and the rest is simply no good. Despite this setback, Sally agrees to go out with Buster, after her Sunday date cancels. They go to the city plunge (pool), where Buster gets involved in numerous mishaps. Later, Harold offers Sally a ride home; Buster has to sit in the rumble seat, where he gets drenched in the rain. The next day, Sally gives him a hot tip she has just received that something big is going to happen in Chinatown. In his rush to get there, he accidentally runs into an organ grinder, who falls and apparently kills his monkey. A nearby cop makes Buster pay for the monkey and take its body with him. The monkey turns out only to be dazed and joins Buster on his venture. In Chinatown, Buster films the outbreak of a Tong War, narrowly escaping death on several occasions. At the end, he is rescued from Tong members by the timely arrival of the police, led by a cop who had been the unintentional victim of several of Buster's antics over the last few days. The cop tries to have him committed to the mental hospital, but Buster makes his escape with his camera intact. Returning to MGM, Buster and the newsreel company's boss are dismayed to find that he apparently forgot to load film into his camera. When Sally finds herself in trouble for giving Buster the tip, Buster offers to make amends by leaving MGM alone once and for all. Buster returns to his old job, but does not give up on filming, setting up to record a boat race. He then discovers that he has Tong footage after all; the mischievous monkey had switched the reels. Sally and Harold are speeding along in one of the boats. When Harold makes too sharp a turn, the two are thrown into the river. Harold saves himself, but Sally is trapped by the circling boat. Buster stops filming to jump in and rescues her. When Buster rushes to a drug store to get medical supplies to revive her, Harold returns and takes credit for the rescue. The two go off, leaving the brokenhearted Buster behind, while the monkey films it all on the camera. Buster decides to send his Tong footage to MGM free of charge. The boss decides to screen it for Harold and Sally for laughs, but is thrilled by what he sees. They also see footage of Buster's boat footage and the monkey's shot of Buster's rescue of Sally. The boss calls it the best camerawork he has seen in years. The boss sends Sally to get Buster, who tells him that he's in for a great reception. Buster assumes a ticker-tape parade is in his honor, whereas it is really for Charles Lindbergh.

THE LAST EMPEROR (Bernardo Bertolucci, 1987)

By 1950, the 44-year old Puyi, former Emperor of China, has been in custody for five years since his capture by the Red Army during the Soviet invasion of Manchuria. In the recently established People's Republic of China, Puyi arrives as a political prisoner and war criminal at the Fushun Prison. Soon after his arrival, Puyi attempts suicide, but is quickly rescued and told he must stand trial. 42 years earlier, in 1908, a toddler Puyi is summoned to the Forbidden City by the dying Empress Dowager Cixi. After telling him that the previous emperor had died earlier that day, Cixi tells Puyi that he is to be the next emperor. After his coronation, Puyi, frightened by his new surroundings, repeatedly expresses his wish to go home, but is denied. Despite having scores of palace eunuchs and maids to wait on him, his only real friend is his wet nurse, Ar Mo. As he grows up, his upbringing is confined entirely to the imperial palace and he is prohibited from leaving. One day, he is visited by his younger brother, Pujie, who tells him he is no longer Emperor and that China has become a republic; that same day, Ar Mo is forced to leave. In 1919, Reginald Johnston is appointed as Puyi's tutor and gives him a Western-style education, and Puyi becomes increasingly desirous to leave the Forbidden City. Johnston, wary of the courtiers' expensive lifestyle, convinces Puyi that the best way of achieving this is through marriage; Puyi subsequently weds Wanrong, with Wenxiu as a secondary consort. Puyi then sets about reforming the Forbidden City, including expelling the palace eunuchs. However, in 1924, he himself is expelled from the palace and exiled to Tientsin following the Beijing Coup. He leads a decadent life as a playboy and Anglophile, and sides with Japan after the Mukden Incident. During this time, Wenxiu divorces him, but Wanrong remains and eventually succumbs to opium addiction. In 1934, the Japanese crown him "Emperor" of their puppet state of Manchukuo, though his supposed political supremacy is undermined at every turn. Wanrong gives birth to a child, but the baby is murdered at birth by the Japanese and proclaimed stillborn. He remains the nominal ruler of the region until his capture by the Soviet Red Army. Under the Communist re-education program for political prisoners, Puyi is coerced by his interrogators to formally renounce his forced collaboration with the Japanese invaders during the Second Sino-Japanese War. After heated discussions with Jin Yuan, the warden of the Fushun Prison, and watching a film detailing the wartime atrocities committed by the Japanese, Puyi eventually recants and is considered rehabilitated by the government; he is subsequently released in 1959. Several years later in 1967, Puyi has become a simple gardener who lives a peasant proletarian existence following the rise of Mao Zedong's cult of personality and the Cultural Revolution. On his way home from work, he happens upon a Red Guard parade, celebrating the rejection of landlordism by the communists. He sees Jin Yuan, now one of the political prisoners punished as an anti-revolutionary in the parade, forced to wear a dunce cap and a sandwich board bearing punitive slogans. Puyi later visits the Forbidden City where he meets an assertive young boy wearing the red scarf of the Pioneer Movement. The boy orders Puyi to step away from the throne, but Puyi proves that he was indeed the Son of Heaven before approaching the throne. Behind it, Puyi finds a 60-year-old pet cricket that he was given by palace official Chen Baochen on his coronation day and gives it to the child. Amazed by the gift, the boy turns to talk to Puyi, but finds that he has disappeared. In 1987, a tour guide leads a group through the palace. Stopping in front of the throne, the guide sums up Puyi's life in a few, brief sentences, before concluding that he died in 1967.

SAFE (Todd Haynes, 1995)

Carol White is a housewife living in an affluent suburb of Los Angeles. She passes her days with activities like gardening, aerobics, and seeing friends. Her marriage and family life appear stable but sterile, and her friends are polite but distant. Following the renovation of the family's home, Carol suddenly starts experiencing physical symptoms when she is around certain everyday chemicals: she coughs uncontrollably when breathing exhaust fumes from a nearby truck while driving, has breathing difficulties at a baby shower, and suffers from a nosebleed while getting a perm at a hair salon. As her symptoms worsen, the chemicals that are triggering them seem ubiquitous. Finally, she has a complete collapse while at her dry cleaners that is being fumigated with pesticides. Doctors have no idea how to cure or help Carol. She attends some psychotherapy sessions, but her symptoms are not alleviated. She finds that she is very alone with her disease when her community behaves indifferently towards her. Accepting that she can no longer function in her current life, she leaves her home, possessions, and life behind. Without her husband, she moves to Wrenwood, an eerie new-age desert community for people with environmental illnesses. Wrenwood, which has cult-like aspects, is led by a man whose relentless motivational talks amount to "psychological fascism".[7] Even in a community of people with similar health issues, Carol seems to become more isolated. She moves into an igloo separated from the rest of the community. Carol looks into a mirror and says "I love you" to herself.

ALL THAT HEAVEN ALLOWS (Douglas Sirk, 1955)

Cary Scott is an affluent widow in the town of Stoningham, in suburban New England, whose social life revolves around the weekend visits of her college-age son and daughter, her best friend's country-club activities, and a few men vying for her affection. Feeling stuck in a rut, she becomes interested in Ron Kirby, her arborist. He is an intelligent, down-to-earth, and respectful, yet passionate, younger man, and she discovers he is content with his simple life outside the materialistic society in which they live. Ron introduces Cary to his friends, who seem to have no need for wealth or status, and their exuberance provides a welcome contrast to her staid existence. Ron and Cary fall in love, and Ron proposes. Cary accepts, but she has concerns about the viability of their relationship, due to their different ages, classes, and lifestyles. These concerns are magnified when she tells her children and friends about the engagement and is met with a solid wall of disapproval, and, eventually, she breaks up with Ron. Particularly influential in her change of mind are her children's protestations against Cary's plan to sell the family home and move to Ron's tree nursery, as they will not want to visit her there. After spending most of the Christmas season alone, Cary misses her life with Ron, but she thinks she has missed her opportunity for happiness because she mistakenly believes Ron is seeing another woman. On Christmas, her daughter announces she will be getting married soon and her son says that, since he is likely going to study abroad and then work overseas, they should start thinking about selling their house, which is too big for just Cary. She is overwhelmed by how pointless her sacrifice was, and her spirits are not lifted when her children give her a television set to fill her empty life. Cary goes to see a doctor about recurrent headaches she has started having, and he suggests they are being caused by her body punishing her for ending her relationship with Ron. Leaving the appointment, she runs into one of Ron's friends, and in the course of their conversation she learns that Ron is still single. She goes to his property, but then changes her mind and leaves. Ron sees her from a precipice and excitedly, though unsuccessfully, tries to get her attention. The ground collapses out from under him, and he falls off the cliff. That night, Ron's friend tells Cary about the accident, and she hurries over to his house. She decides she no longer wants to allow other people to dictate how she lives her life and settles in to nurse Ron back to health. When Ron regains consciousness, Cary tells him that she has come home.

MEAN STREETS (Martin Scorsese, 1973)

Charlie Cappa, a young Italian-American in the Little Italy neighborhood of New York City, is hampered by his feeling of responsibility toward his reckless younger friend John "Johnny Boy" Civello, a small-time gambler and ne'er-do-well who refuses to work and owes money to many loan sharks. Charlie is also having a secret affair with Johnny's cousin Teresa, who has epilepsy and is ostracized because of her condition—especially by Charlie's Uncle Giovanni, a powerful mafioso. Giovanni wants Charlie to distance himself from Johnny, saying "honorable men go with honorable men." Charlie is torn between his devout Catholicism and his illicit Mafia work for Giovanni. Johnny becomes increasingly self-destructive and disrespectful of his Mafia-connected creditors. Failing to receive redemption in the Church, Charlie seeks it through sacrificing himself on Johnny's behalf. At a bar, a loan shark named Michael comes looking for Johnny to pay up. To his surprise, Johnny insults him. Michael lunges at Johnny, who pulls a gun. After a tense standoff, Michael walks away and Charlie convinces Johnny that they should leave town for a brief period. Teresa insists on coming with them. Charlie borrows a car and they drive off, leaving the neighborhood without incident. A car that has been following them suddenly pulls up, with Michael at the wheel and his henchman, Jimmy Shorts, in the backseat. Jimmy fires several shots at Charlie's car, hitting Johnny in the neck and Charlie in the arm, causing Charlie to crash the car into a fire hydrant. Teresa is injured in the crash, Johnny is seen in an alleyway staggering toward a white light which is revealed to be a police car, and Charlie gets out of the crashed vehicle and kneels in the spurting water from the hydrant, dazed and bleeding. Paramedics take Teresa and Charlie away while Johnny's fate remains unknown.

DEATH IN VENICE (Luchino Visconti, 1971)

Composer Gustav von Aschenbach travels to Venice for rest, due to serious health concerns. During the ship's arrival, an importunate and conspicuously made-up older man molests Aschenbach with suggestive gestures and phrases, whereupon Aschenbach turns away indignantly. Aschenbach takes quarters in the beachside Grand Hotel des Bains on the Lido di Venezia. While awaiting dinner in the hotel's lobby, he notices a group of young Poles and their governess mother, and becomes spellbound by the handsome boy Tadzio, whose casual dress and demeanor distinguishes him from his modest sisters. Tadzio's image causes Aschenbach to recall an increasingly emotional and violent conversation with his friend and student Alfred, in which they question whether beauty is created artistically or naturally and if beauty, as a natural phenomenon, is superior to art. In the following days, Aschenbach observes Tadzio playing and bathing, and manages to get close to him in the hotel's elevator; Tadzio seems to throw a lascivious look at Aschenbach while exiting the lift. Returning to his room in an agitated state, Aschenbach remembers a particularly personal argument with Alfred, and he hesitantly decides to leave Venice. However, when his luggage is swapped at the train station, he is relieved and delighted at the prospect of returning to the hotel in order to be near Tadzio again. Before his return, he sees an emaciated man collapse in the station concourse. When Aschenbach attempts to investigate this, the flattering hotel manager speaks in a dismissive matter of exaggerated scandals in the foreign press. Aschenbach adopts Tadzio as an artistic muse, but fails to platonically master his passion for him and frequently loses himself in daydreams of the unattainable boy; when a travel agency employee on Piazza San Marco hesitantly reports to Aschenbach that a cholera epidemic is sweeping through Venice, Aschenbach's attention falters and he fantasizes of warning Tadzio's mother of the danger while stroking her son's head. Though the two never converse, Tadzio notices that he is being watched and reacts by giving mysterious looks and poses. Aschenbach follows Tadzio and his family to St Mark's Basilica, where he observes him praying. Aschenbach gets a makeover from a chatty hairdresser, giving him a resemblance to the pushy fop that had pestered him upon his arrival. He pursues Tadzio's family again until he collapses near a well and cries out in despair. Back in his hotel room, Aschenbach dreams of a booed performance in Munich and Alfred's accusations. When Aschenbach learns that Tadzio's family will be leaving, he weakly makes his way to a nearly deserted beach, where he watches with concern as Tadzio's game with an older boy degenerates into a wrestling match. Upon recovering, Tadzio strolls and wades through the seawater to the enraptured tones of Mahler's Adagietto. He slowly turns and looks toward the dying Aschenbach, then raises his arm and points toward the distance. Aschenbach tries to rise, but collapses dead in his deck chair.

SHADOW OF A DOUBT (Alfred Hitchcock, 1943)

Charlotte "Charlie" Newton is a bored teenage girl living in the idyllic town of Santa Rosa, California. She receives wonderful news: Her mother's younger brother (her eponym), Charles Oakley, is arriving for a visit. Her uncle arrives, and at first, everyone is delighted with his visit, especially young Charlie. Uncle Charlie gives his niece an emerald ring that has someone else's initials engraved inside. Two men appear at the Newton home, trying to take Uncle Charlie's picture. Young Charlie guesses they are undercover police detectives. One of them explains her uncle is one of two suspects who may be the "Merry Widow Murderer". Charlie refuses to believe it at first but then observes Uncle Charlie acting strangely. The initials engraved inside the ring he gave her match those of one of the murdered women, and during a family dinner, he reveals his hatred of rich widows. One night Uncle Charlie lets his guard down and describes elderly widows as "fat, wheezing animals"; horrified, Charlie runs out. Uncle Charlie follows and takes her into a seedy bar. He admits he is one of the two suspects. He begs her for help; she reluctantly agrees not to say anything, as long as he leaves soon to avoid a horrible confrontation that would destroy her mother, who idolizes her younger brother. Uncle Charlie (Joseph Cotten) confronts his niece (Teresa Wright) in a seedy bar about what she knows. News breaks that an alternative suspect was chased by police and killed by an airplane propeller; it is assumed that he was the murderer. Uncle Charlie is delighted to be exonerated, but young Charlie knows all his secrets. Soon, she falls down dangerously steep stairs, which she later notices were cut through. Uncle Charlie says he wants to settle down, and young Charlie says she will kill him if he stays. Later that night, Uncle Charlie lures young Charlie into the garage, jamming the door and filling the garage with exhaust fumes. A friend comes by and hears Charlie banging on the garage door and gets her out in time. Uncle Charlie announces he is leaving for San Francisco, along with a rich widow, Mrs. Potter. At the train station, young Charlie boards the train claiming to want to see Uncle Charlie's compartment. Uncle Charlie hopes to kill her by shoving her out after it picks up speed. However, in the ensuing struggle, he falls in front of an oncoming train. At his funeral, Uncle Charlie is honored by the townspeople. The detective returns, and Charlie confesses that she withheld crucial information. They resolve to keep Uncle Charlie's crimes a secret.

CHARULATA (Satyajit Ray, 1964)

Charulata is based on the story "Nastanirh (The Broken Nest)" by Rabindranath Tagore, set in Calcutta in 1879. The Bengali Renaissance is at its peak, and India is under British rule. The film revolves around Charulata (Madhabi Mukherjee), the intelligent and beautiful wife of Bhupati (Sailen Mukherjee). He edits and publishes a political newspaper. Bhupati is an upper-class Bengali intellectual with a keen interest in politics and the freedom movement. Charu is interested in the arts, literature and poetry. Although Bhupati loves his wife, he has no time for her. She has little to do in the house run by a fleet of servants. Sensing her boredom, Bhupati invites Charu's elder brother Umapada and his wife Manda to live with them. Umapada helps in running the magazine and the printing press. Manda, with her silly and crude ways, is no company for the sensitive, intelligent Charulata. Amal (Soumitra Chatterjee), Bhupati's younger cousin, comes to visit. Bhupati asks him to encourage Charu's cultural interests. Amal is young and handsome, and he is in the same age group as Charu. He has literary ambitions and shares her interests in poetry. He provides her with much-needed intellectual companionship and attention. An intimate and teasing friendship develops between Charulata and Amal. There is a hint of rivalry when she publishes a short story on her own without his knowledge, following his publishing of a poem that she had forbidden him from getting published. He realizes that Charulata is in love with him, but he is reluctant to reciprocate due to the guilt involved. Meanwhile, Charu's brother and sister-in-law swindle Bhupati of his money and run away. It destroys Bhupati's newspaper and the press. The episode shatters Bhupati who admits his hurt to Amal. He tells Amal that now Amal is the only one he can trust. Amal is overcome with the guilt of betraying his cousin. He is also uncomfortable with Charu's higher intellect that he has helped nurture. He leaves unannounced. He leaves behind a letter to Bhupati and forbids Charu to stop writing. Charu is heartbroken but hides her disappointment. Bhupati accidentally enters her room and finds her crying over Amal. Bhupati realizes Charu's feelings for Amal. He is broken, shocked and bewildered. He rushes out of the house and wanders aimlessly in his carriage. On his return, Charu and Bhupati make a hesitant gesture to reach out, but their extended hands remain frozen in a tentative gesture.

PERFORMANCE (Nicolas Roeg & Donald Cammell, 1970)

Chas is a member of an East London gang, led by Harry Flowers; his specialty is intimidation through violence, as he collects pay-offs for Flowers. Chas is very good at his job, and has a reputation for liking it. His sexual liaisons are casual and rough. When Flowers decides to take over a betting shop owned by Joey Maddocks, he forbids Chas to get involved because he feels Chas' complicated personal history with Maddocks may lead to trouble. Chas is angry about this and later humiliates Maddocks, who retaliates by wrecking Chas' apartment and attacking Chas, who in turn shoots him, packs a suitcase and runs from the scene. When Flowers makes it clear that he has no intention of offering protection to Chas, but instead wants him eliminated, Chas decides to head for the countryside to hide out, but after overhearing a musician talk about going on tour and leaving his rented room in Notting Hill Gate, Chas goes there and pretends the musician was a friend who recommended him. He tells Pherber, a woman living there, that he is a fellow performer, juggler Johnny Dean. She lives there with Turner, a reclusive, eccentric former rock star who has 'lost his demon', and Lucy, with whom he enjoys a non-possessive and bisexual ménage à trois. Floating in and out of the house is a child, Lorraine. At first, Chas is contemptuous of Turner, who himself attempts to return the rent paid in advance, but they start influencing each other. Pherber and Turner understand his conflict, and want to understand what makes him function so well within his world. To speed up the process, Pherber tricks him by feeding him a psychedelic mushroom, and Chas accuses her and Turner of poisoning him. He soon accepts it, and in his hallucinogenic state, he experiments with clothing and identity, including the wearing of feminine clothes. Chas opens up, and he begins a caring relationship with Lucy. Before all this, he phones Tony (a trusted friend who refers to Chas as 'Uncle') to help him get out of the country. Flowers and his henchmen use Tony to track Chas to Turner's flat. They allow him to go and collect his things upstairs. Chas tells Turner and Pherber he is leaving, then shoots and kills Turner before being escorted into Flowers' car. As the car is driving away, Chas still wears his feminine clothes and wig, but his face is identical to Turner's.

BROKEN BLOSSOMS (D.W. Griffith, 1919)

Cheng Huan leaves his native China because he "dreams to spread the gentle message of Buddha to the Anglo-Saxon lands." His idealism fades as he is faced with the brutal reality of London's gritty inner-city. However, his mission is finally realized in his devotion to the "broken blossom" Lucy Burrows, the beautiful but unwanted and abused daughter of boxer Battling Burrows. After being beaten and discarded one evening by her raging father, Lucy finds sanctuary in Cheng's home, the beautiful and exotic room above his shop. As Cheng nurses Lucy back to health, the two form a bond as two unwanted outcasts of society. All goes astray for them when Lucy's father gets wind of his daughter's whereabouts and in a drunken rage drags her back to their home to punish her. Fearing for her life, Lucy locks herself inside a closet to escape her contemptuous father. By the time Cheng arrives to rescue Lucy, whom he so innocently adores, it is too late. Lucy's lifeless body lies on her modest bed as Battling has a drink in the other room. As Cheng gazes at Lucy's youthful face which, in spite of the circumstances, beams with innocence and even the slightest hint of a smile, Battling enters the room to make his escape. The two stand for a long while, exchanging spiteful glances, until Battling lunges for Cheng with a hatchet, and Cheng retaliates by shooting Burrows repeatedly with his handgun. After returning to his home with Lucy's body, Cheng builds a shrine to Buddha and takes his own life with a knife to the chest.

THE WATERMELON WOMAN (Cheryl Dunye, 1996)

Cheryl is a 25-year-old African-American lesbian who works at a video rental store in Philadelphia with her friend Tamara. She is interested in films from the 1930s and 1940s that feature Black actresses, noting that the actresses in these roles are often not credited. After watching a film titled Plantation Memories in which a Black actress playing a mammy is credited only as "The Watermelon Woman", she decides to make a documentary in which she attempts to uncover the Watermelon Woman's identity. Cheryl begins interviewing subjects for her documentary: her mother, who recalls seeing the Watermelon Woman singing in clubs in Philadelphia; Lee Edwards, a local expert on African-American cinema; and her mother's friend Shirley, who is a lesbian. Shirley tells Cheryl that the Watermelon Woman's name was Fae Richards, that Fae was a lesbian, and that she used to sing in clubs "for all us stone butches". She suggests that Fae was in a relationship with Martha Page, the white director of Plantation Memories. Cheryl later begins dating Diana, a white customer at the video rental store. After interviewing cultural critic Camille Paglia, Cheryl visits the Center for Lesbian Information and Technology ("CLIT"), where she finds an autographed photo of Fae Richards signed for her "special friend" June Walker. Diana later helps Cheryl contact Martha Page's sister, who denies that Martha was a lesbian. Tamara tells Cheryl that she disapproves of her relationship with Diana; she accuses Cheryl of wanting to be white, and Diana of having a fetish for Black people. Upon contacting June Walker, Cheryl learns that Fae is deceased and that June is a Black woman who was Fae's partner of 20 years. They arrange to meet, though June is hospitalized prior to their meeting and leaves a letter for Cheryl. In the letter, June expresses anger over the frequent rumors that Fae and Martha were a couple, and urges Cheryl to tell the true story of their relationship. Having separated from Diana and fallen out with Tamara, Cheryl finishes her documentary, never managing to make further contact with June.

7TH HEAVEN (Frank Borzage, 1927)

Chico works in the sewers of Paris. He dreams of becoming a street sweeper and therefore lights candles in the church. He also asks a blonde woman to be his partner. But his wishes are not granted, which makes him bitter. One day Chico saves the young prostitute Diane, who is suffering from her unscrupulous sister Nana. The police want to arrest the prostitute, who is innocent in spite of her job, but Chico saves her by pretending to be her husband. Now the two have to maintain the facade and act as spouses. So Chico allows Diane to move into his attic with him. In fact, the two find each other. But when the war breaks out, Chico is called up. Diane works in an ammunition factory. News of Chico's death reaches her, but Chico is not dead. He returns home to Diane, wounded and blind.

GET OUT (Jordan Peele, 2017)

Chris Washington is a black photographer from Brooklyn, New York, preparing for a weekend visit to Upstate New York, to meet the family of his white girlfriend, Rose Armitage. Hesitant, he asks Rose if her family knows about their interracial relationship, but she assures him that they are not racist. While there, Rose's brother Jeremy and their parents, neurosurgeon Dean and hypnotherapist Missy, make disconcerting comments about black people, and Chris witnesses strange behavior from the estate's black housekeeper Georgina and groundskeeper Walter. One night, Missy pressures Chris into a hypnotherapy session to cure his smoking addiction. While in a trance, he confesses that his mother was killed in a hit-and-run when he was a child and that he feels responsible for her death as he waited too long to call for help. He then enters a void Missy calls the "Sunken Place". The next morning, he assumes that the encounter was a dream until Walter acknowledges their brief session the night before. However, he is pleased to discover that the hypnosis was a success, as he no longer feels a desire to smoke. Dozens of wealthy white people arrive for the Armitages' annual get-together, and express admiration for Chris' physique and for black figures such as Tiger Woods. Jim Hudson, an art dealer who has gone blind in his old age, takes a particular interest in Chris' photography skills. Chris meets another black man, Logan King, who behaves strangely and is married to a much older white woman. Chris relays the information to his friend, TSA officer Rod Williams. Chris tries to photograph Logan inconspicuously, but when his flash goes off, Logan becomes hysterical, shouting at Chris to "get out". The others restrain him, and Dean later claims that Logan had an epileptic seizure. Away from the party, Chris tells Rose that they should leave. Meanwhile, the party guests hold a silent auction, disguised as a game of bingo, with Chris as the "prize", with Jim making the winning bid. Rod recognizes "Logan" as Andre Hayworth, a missing man from Brooklyn. Suspecting a conspiracy, Rod tries to tell the police, but his claims are dismissed. While Chris packs to leave, he finds photos of Rose in prior relationships with several black partners, including Walter and Georgina, contradicting her earlier claim that Chris is the first black person she has dated. He tries to leave the house, but Rose and her family lock him in. Chris attacks Jeremy, but Missy uses a "trigger" that she implanted during his hypnosis, knocking him out. Chris awakens strapped to a chair in the basement. In a video presentation, Rose's grandfather Roman explains that the family transplants people's brains into others' bodies, granting them preferred physical characteristics and a twisted form of immortality. The host's consciousness remains in the Sunken Place, alive but powerless. The video then connects to a feed of Jim, speaking with Chris through an intercom. Jim says that although the Armitages target mainly black people, he doesn't care about Chris' race: he only wants his eyesight. Missy performs hypnosis, seemingly knocking Chris out. When Jeremy comes to fetch Chris for the surgery, it is revealed that Chris blocked the hypnosis trigger by plugging his ears with cotton stuffing pulled from the chair. Chris bludgeons Jeremy unconscious with a bocce ball and heads to the operating room where Dean is about to perform the surgery replacing Jim's body with Chris'. Chris impales Dean with the antlers of a deer mount, knocking over a candle which sets fire to the operating room with an anesthetized Jim inside. Missy attacks Chris in the kitchen but he stabs and kills her, and is then attacked again by Jeremy as he heads towards the door; he overpowers and kills Jeremy before leaving in the latter's car. On the way out, he hits Georgina—who is revealed to be possessed by Rose's grandmother, Marianne—and knocks her unconscious. Compelled by guilt from his mother's death, he decides to carry her into the car, but she awakens and attacks him. In the ensuing struggle, the car crashes and Georgina is killed. An armed Rose apprehends Chris with Walter, who is possessed by Roman. Chris uses the flash on his phone to neutralize Roman, allowing Walter to regain control of his body. Walter takes Rose's rifle and shoots her in the stomach before shooting himself. Chris begins to strangle Rose, but he finds himself unable to kill her. Police sirens approach, and Rose cries out for help. However, the driver is revealed to be Rod, who drives away with Chris as Rose is left bleeding out on the road.

THE SILENCE OF THE LAMBS (Jonathan Demme, 1991)

Clarice Starling, an FBI trainee, is pulled from her regimen at the Quantico FBI Academy by her boss, Jack Crawford. He assigns her to interview Hannibal Lecter, an incarcerated former psychiatrist and cannibalistic serial killer, on the pretense of persuading Lecter to answer a questionnaire about himself for the Bureau's psychological profiles, but secretly hoping to gain his insights about a psychopath serial killer nicknamed "Buffalo Bill," who kills young women and removes their skin from their bodies. At the Baltimore State Hospital for the Criminally Insane, Dr. Frederick Chilton escorts Starling to Lecter's cell. Although initially pleasant and courteous, Lecter grows impatient with Starling's interviewing and rebuffs her, deducing Crawford's true motive and refusing to help. As she is leaving, another prisoner, Miggs, flicks semen at her as he masturbates, angering Lecter. He calls Starling back and tells her to seek out an old patient of his, which leads her to a storage facility where she discovers a jar containing a man's severed head. She returns to Lecter, who says the man is linked to Buffalo Bill, and offers to profile the suspect on the condition that he is transferred away from Chilton, whom he detests. Meanwhile, another victim is found with a death's head moth lodged in her throat. In Tennessee, Buffalo Bill abducts Catherine Martin, the daughter of a U.S. senator. Crawford authorizes Starling to offer Lecter a fake deal, promising a prison transfer if he provides information that helps them capture Buffalo Bill in time to rescue Catherine. Instead, Lecter demands a quid pro quo from Starling, offering clues in exchange for her personal information. Starling tells Lecter about her father's murder when she was a child. Chilton eavesdrops on their conversation and exposes Starling's deceit to Lecter before offering him a new deal. Lecter agrees and is flown to Memphis, where he meets Senator Martin, giving her accurate information on Buffalo Bill's appearance but falsely states his name is "Louis Friend." Starling figures out that the name is an anagram of "iron sulfide"—fool's gold. She visits Lecter, now imprisoned in a cell in Tennessee, and requests the truth. Lecter says all the information she needs is in the Buffalo Bill case file, then insists on continuing their quid pro quo. She recounts a traumatic childhood incident of hearing spring lambs being slaughtered. Lecter speculates that Starling hopes that saving Catherine will end the recurring nightmares she has of lambs screaming, and gains satisfaction from this shared revelation. Lecter returns the case files to Starling as Chilton arrives and has the police escort her out. Later that evening, Lecter kills his guards, escapes from his cell, and disappears. Starling analyzes Lecter's file annotations and figures out that Buffalo Bill knew his first victim, Frederika Bimmel. Starling travels to Bimmel's Ohio hometown and discovers that she and Buffalo Bill were both tailors. At Bimmel's home, Starling finds dress patterns identical to the patches of skin removed from the victim and phones Crawford to tell him that Buffalo Bill is making a "suit" with human skin. Crawford is already en route to make an arrest, having cross-referenced Lecter's notes with hospital archives and finding a man named Jame Gumb, who believes he is transsexual but was deemed too violent to apply for a sex-change operation. Crawford and an FBI Hostage Rescue Team storm Gumb's address in Illinois, finding the house empty. Meanwhile, Starling follows a lead from one of Bimmel's friends, which takes her to the house of one of her former clients. At the house, she meets "Jack Gordon," but realizes he is Gumb after spotting a death's head moth flying loose. She pursues him into a cavernous basement and finds Catherine trapped in a dry well. In a dark room, Gumb stalks Starling with night-vision goggles, but reveals himself by cocking his revolver. Starling reacts quickly and shoots Gumb dead. At the FBI Academy graduation party, Starling receives a phone call from Lecter, who is at a Bimini airport. He assures her that he has no intention of pursuing her and requests that she return the favor, which she says she cannot. Lecter subsequently hangs up the phone because he is "having an old friend for dinner". He trails a newly-arrived Chilton into the crowd.

ANNIE HALL (Woody Allen, 1977)

Comedian Alvy Singer is trying to understand why his relationship with Annie Hall ended a year ago. Growing up in Brooklyn, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity, suddenly kissing a classmate at six years old and not understanding why she was not keen to reciprocate. Annie and Alvy, in a line for The Sorrow and the Pity, overhear another man deriding the work of Federico Fellini and Marshall McLuhan; Alvy imagines McLuhan himself stepping in at his invitation to criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife, whose ardor gave him no pleasure. His second marriage was to a New York writer who did not like sports and was unable to reach orgasm. With Annie, it is different. The two of them have fun cooking a meal of boiled lobster together. He teases her about the unusual men in her past. They had met playing tennis doubles with friends. Following the game, awkward small talk leads her to offer him a ride uptown, and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in "mental subtitles" as an escalating flirtation. Their first date follows Annie's singing audition for a night club ("It Had to be You"). After their lovemaking that night, Alvy is "a wreck", while Annie relaxes with a joint. Soon, Annie admits she loves Alvy, while he buys her books on death and says that his feelings for her are more than just love. When Annie moves in with him, things become very tense. Eventually, Alvy finds her arm-in-arm with one of her college professors, and the two begin to argue about whether this is the "flexibility" they had discussed. They eventually break up, and he searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, and imagining a cartoon version of himself arguing with a cartoon Annie portrayed as the Evil Queen in Snow White. Alvy attempts a return to dating, but the effort is marred by neurosis and an episode of bad sex that is interrupted when Annie calls in the middle of the night, insisting that he come over immediately to kill two spiders in her bathroom. A reconciliation follows, coupled with a vow to stay together, come what may. However, their separate discussions with their therapists make it evident there is an unspoken and unbridgeable divide. When Alvy accepts an offer to present an award on television, they travel to Los Angeles with Alvy's friend Rob. However, on the return trip, they agree that their relationship is not working. After losing Annie to her record producer Tony Lacey, Alvy unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship, but he changes the ending: now she accepts. The last meeting between Annie and Alvy is a wistful coda on Manhattan's Upper West Side after they have both moved on to someone new. Alvy's voice returns with a summation: love is essential, especially if it is neurotic. Annie sings "Seems Like Old Times", and the credits roll.

THE ELEPHANT MAN (David Lynch, 1980)

Frederick Treves, a surgeon at the London Hospital, finds John Merrick in a Victorian freak show in London's East End, where he is kept by Mr. Bytes, the brutish ringmaster. His head is kept hooded, and his "owner", who views him as intellectually disabled, is paid by Treves to bring him to the hospital for examination. Treves presents Merrick to his colleagues and highlights his deformed skull, which forces him to sleep with his head on his knees, since if he were to lie down, he would asphyxiate. On Merrick's return, he is beaten so badly by Bytes that he has to call Treves for medical help. Treves brings him back to the hospital. Merrick is tended to by hospital matron Mrs. Mothershead, as the other nurses are too frightened of him. Mr. Carr Gomm, the hospital's Governor, is against housing Merrick, as the hospital does not accept "incurables". To prove that Merrick can make progress, Treves trains him to say a few conversational sentences and part of the 23rd Psalm. Carr Gomm sees through this ruse, but as he is leaving, Merrick begins to recite the whole of the Psalm. Merrick tells the doctors that he knows how to read, and has memorized the 23rd Psalm because it is his favorite. Carr Gomm permits him to stay, and Merrick spends his time practicing conversation with Treves and building a model of a cathedral he can see from his window. Merrick has tea with Treves and his wife, and is so overwhelmed by their kindness that he shows them his mother's picture. He believes he must have been a "disappointment" to his mother, but hopes she would be proud to see him with his "lovely friends". Merrick begins to take guests in his rooms, including the actress Madge Kendal, who gives him a copy of Romeo and Juliet; they play some lines from it and Kendal kisses Merrick on the lips. Merrick quickly becomes an object of curiosity to high society, and Mrs. Mothershead expresses concerns that he is still being put on display as a freak. Treves begins to question the morality of his own actions. Meanwhile, a night porter named Jim starts selling tickets to locals, who come at night to gawk at the "Elephant Man". The issue of Merrick's residence is challenged at a hospital council meeting, but he is guaranteed permanent residence by command of the hospital's royal patron, Queen Victoria, who sends word with her daughter-in-law Alexandra. However, during one of Jim's raucous late-night showings Merrick is kidnapped by Bytes. A witness reports this to Treves, who confronts Jim about what he has done, and Mothershead fires him. Bytes takes Merrick on the road as a circus attraction once again. During a "show" in Belgium, Merrick, who is weak and dying, collapses, causing a drunken Bytes to lock him in a cage at night with some apes and leave him to die. Merrick is released by his fellow freakshow attractions. Upon returning to London, he is harassed through Liverpool Street station by several young boys and accidentally knocks down a young girl. Merrick is chased, unmasked, and cornered by an angry mob. He cries "I am not an elephant! I am not an animal! I am a human being! I ... am ... a ... man!" before collapsing. Policemen return Merrick to the hospital and Treves. He recovers some of his health, but is dying of chronic obstructive pulmonary disease. Treves and Mothershead take Merrick, accompanying Princess Alexandra, to see a magical pantomime. Kendal comes on stage afterwards and dedicates the performance to him, and a proud Merrick receives a standing ovation from the audience. Back at the hospital, Merrick thanks Treves for all he has done, and completes his cathedral model. Saying "It is finished", he lies down on his back in bed and dies. He is consoled by a vision of his mother, who quotes Lord Tennyson's "Nothing Will Die".

THE KILLING OF A CHINESE BOOKIE (John Cassavetes, 1976)

Cosmo Vittelli owns and operates a nightclub, Crazy Horse West, on the Sunset Strip in Los Angeles. Though Cosmo spends a great deal of time and effort designing and choreographing the venue's artistic burlesque act, he fears his customers are there only to see the naked bodies of his performers. Cosmo makes the final payment on a seven-year gambling debt to a loan shark named Marty, and in return invites him and his mob associates to the club's night act. Eager to celebrate his newfound freedom, Cosmo goes on a night on the town with his three favorite dancers (Margo, Rachel, and Sherry), and subsequently racks up a $23,000 poker debt, returning him to the position he'd just left. Although Cosmo insists he is good for the money over time, Marty's partners force Cosmo to sign over the Crazy Horse West as collateral. Troubled over how to retain his business and resolve the debt, Cosmo drops the girls off at their homes. The following night, gangster Mort and his associates arrive at the club and order Cosmo to find and kill a bookie named Harold Ling in exchange for wiping out his outstanding debt. When Cosmo procrastinates, Mort has one of his men rough him up and make it clear the killing must be completed immediately. Mort gives Cosmo a gun, a car, and the location of Ling's house. After they explain that the bookie's house is guarded and booby-trapped, the men give Cosmo a receipt for the money he owes them and encourage him to tear it up, proving that the hit will cancel his debt. Though they insist the target is simply a low-level bookie, they inadvertently reveal his real name as Benny Wu, raising Cosmo's suspicions. On the freeway heading to Wu's house, a tire on Cosmo's car blows out but he finds a payphone and calls a cab. The cab takes Cosmo to a restaurant where, as instructed, he picks up hamburgers to distract the guard dogs at Wu's home. Making his way to the bookie's room, Cosmo finds Wu naked in his spa. As Cosmo takes aim at the old man, Wu confesses that he has been a bad person and tells Cosmo he is sorry. After killing Wu, Cosmo shoots several bodyguards and makes a run for it, but is shot by a stray bullet in the process. Cosmo takes a bus, then several cabs to Rachel's house, where he collapses on the bed. Rachel's mother, Betty, whom Cosmo calls "Mom," tends to his wound, but she refuses his request to call a cab to take him to the club. Meanwhile, Mort learns of the successful hit but Cosmo's apparent survival, and orders his right-hand man Flo to kill Cosmo. Cosmo makes it back to the club, where Flo is waiting for him and tries to persuade him to leave. A topless Rachel approaches their table and a half-delirious Cosmo tells her that he is going to buy her a diamond ring and asks her to tell him that she loves him. Flo drags Cosmo to an empty parking garage where he admits he considers them friends before passing him on to Mort. Mort admits to Cosmo that Wu was actually a high-ranking Chinese Triad boss and Cosmo was set up to perform a task that Mort's men found impossible to accomplish, a task he was never meant to survive. Mort claims he can protect Cosmo, but is only distracting him long enough for one of his men to get a clear shot. Cosmo kills Mort and escapes to Betty's house, asking where Rachel is before rambling on about his own mother and telling Betty that she's "wonderful". Betty tells Cosmo off, ordering him to leave her and Rachel's house and never come back. Cosmo returns to the club and talks to his performers, motivating them by telling them that each person has their own truths and sense of happiness. He confesses that he is only happy when he is angry, or when he is playing the role of a person that others want him to be. He encourages the troupe to take on their theatrical personalities so that those in the audience can escape their troubles and also pretend to be who they are not. Cosmo takes the stage and tells the audience they are running late because Rachel has left and confesses to the crowd that he loved her. He walks outside and observes blood dripping from his bullet wound as the show begins.Cosmo Vittelli owns and operates a nightclub, Crazy Horse West, on the Sunset Strip in Los Angeles. Though Cosmo spends a great deal of time and effort designing and choreographing the venue's artistic burlesque act, he fears his customers are there only to see the naked bodies of his performers. Cosmo makes the final payment on a seven-year gambling debt to a loan shark named Marty, and in return invites him and his mob associates to the club's night act. Eager to celebrate his newfound freedom, Cosmo goes on a night on the town with his three favorite dancers (Margo, Rachel, and Sherry), and subsequently racks up a $23,000 poker debt, returning him to the position he'd just left. Although Cosmo insists he is good for the money over time, Marty's partners force Cosmo to sign over the Crazy Horse West as collateral. Troubled over how to retain his business and resolve the debt, Cosmo drops the girls off at their homes. The following night, gangster Mort and his associates arrive at the club and order Cosmo to find and kill a bookie named Harold Ling in exchange for wiping out his outstanding debt. When Cosmo procrastinates, Mort has one of his men rough him up and make it clear the killing must be completed immediately. Mort gives Cosmo a gun, a car, and the location of Ling's house. After they explain that the bookie's house is guarded and booby-trapped, the men give Cosmo a receipt for the money he owes them and encourage him to tear it up, proving that the hit will cancel his debt. Though they insist the target is simply a low-level bookie, they inadvertently reveal his real name as Benny Wu, raising Cosmo's suspicions. On the freeway heading to Wu's house, a tire on Cosmo's car blows out but he finds a payphone and calls a cab. The cab takes Cosmo to a restaurant where, as instructed, he picks up hamburgers to distract the guard dogs at Wu's home. Making his way to the bookie's room, Cosmo finds Wu naked in his spa. As Cosmo takes aim at the old man, Wu confesses that he has been a bad person and tells Cosmo he is sorry. After killing Wu, Cosmo shoots several bodyguards and makes a run for it, but is shot by a stray bullet in the process. Cosmo takes a bus, then several cabs to Rachel's house, where he collapses on the bed. Rachel's mother, Betty, whom Cosmo calls "Mom," tends to his wound, but she refuses his request to call a cab to take him to the club. Meanwhile, Mort learns of the successful hit but Cosmo's apparent survival, and orders his right-hand man Flo to kill Cosmo. Cosmo makes it back to the club, where Flo is waiting for him and tries to persuade him to leave. A topless Rachel approaches their table and a half-delirious Cosmo tells her that he is going to buy her a diamond ring and asks her to tell him that she loves him. Flo drags Cosmo to an empty parking garage where he admits he considers them friends before passing him on to Mort. Mort admits to Cosmo that Wu was actually a high-ranking Chinese Triad boss and Cosmo was set up to perform a task that Mort's men found impossible to accomplish, a task he was never meant to survive. Mort claims he can protect Cosmo, but is only distracting him long enough for one of his men to get a clear shot. Cosmo kills Mort and escapes to Betty's house, asking where Rachel is before rambling on about his own mother and telling Betty that she's "wonderful". Betty tells Cosmo off, ordering him to leave her and Rachel's house and never come back. Cosmo returns to the club and talks to his performers, motivating them by telling them that each person has their own truths and sense of happiness. He confesses that he is only happy when he is angry, or when he is playing the role of a person that others want him to be. He encourages the troupe to take on their theatrical personalities so that those in the audience can escape their troubles and also pretend to be who they are not. Cosmo takes the stage and tells the audience they are running late because Rachel has left and confesses to the crowd that he loved her. He walks outside and observes blood dripping from his bullet wound as the show begins.

THE DEATH OF MR. LAZARESCU (Cristi Puiu, 2005)

Dante Remus Lăzărescu (Ioan Fiscuteanu), a cranky retired engineer, lives alone as a widower with his three cats in a Bucharest apartment. In the grip of extreme pain, Lăzărescu calls for an ambulance, but when none arrives, he asks for his neighbors' help. Not having the medicine Lăzărescu wants, the neighbors give him some pills for his nausea. A neighbor reveals that Lăzărescu is a heavy drinker. His neighbor helps Lăzărescu back to his apartment and to bed. They call again for an ambulance. When the ambulance finally arrives, the nurse, Mioara (Luminița Gheorghiu), dispels the idea that Lăzărescu's ulcer surgery over a decade before could cause this pain. While taking the patient history, she suspects that Lăzărescu has colon cancer. After informing his sister, who lives in a different city, that the condition could be serious and she should visit Lăzărescu in the hospital, the nurse decides to get him to a hospital. His sister makes arrangements to come the following day; his only child, a daughter, lives in Toronto, Canada. The film follows Lăzărescu's journey through the night, as he is carried from one hospital to the next. At the first three hospitals, the doctors, after much delay, reluctantly agree to examine Lăzărescu. Then, although finding that he is gravely ill and needs emergency surgery, each team refuses to admit him and sends him to another hospital. Meanwhile, Lăzărescu's condition deteriorates rapidly, his speech is reduced to babbling, and he slowly loses consciousness. The hospitals are jammed with injured passengers from a bus accident, but some doctors appear to reject him out of fatigue or because they do not feel like taking care of a smelly old drunkard. During the night, his only advocate is Mioara, the paramedic who stubbornly stays by him and tries to get him hospitalized and treated, while passively accepting verbal abuse from the doctors who look down on her. Finally, at the fourth hospital, the doctors admit Lăzărescu. The film ends as they prepare to perform an emergency operation to remove a blood clot in his brain.

DAUGHTERS OF THE DUST (Julie Dash, 1991)

Daughters of the Dust is set in 1902 among the members of the Peazant family, Gullah islanders who live at Ibo Landing on Dataw Island (St. Simons Island), off the Georgia coast.[8] Their ancestors were brought there as enslaved people centuries ago, and the islanders developed a language—known as Gullah or Sea Island Creole English—and culture that was creolized from West Africans of Ibo, Yoruba, Mende, and Twi origin, along with some influence from the Bakongo of central Africa as well as the cultures and languages of the British Isles, with the common variety of English being the superstratum in this case[9] Developed in their relative isolation of large plantations on the islands, the enslaved peoples' unique culture and language have endured over time. Their dialogue is in Gullah creole.[8] Narrated by the Unborn Child, the future daughter of Eli and Eula, whose voice is influenced by accounts of her ancestors, the film presents poetic visual images and circular narrative structures to represent the past, present and future for the Gullah, the majority of whom are about to embark for the mainland and a more modern, "civilized" way of life. The old ways and African ancestral history are represented by community matriarch Nana Peazant, who practices African spiritual rituals. Nana tells her family as she bids them to remember and honour their ancestors as they embark on their new journey, "We are two people in one body. The last of the old and the first of the new." Contrasting cousins, Viola, a devout Christian, and Yellow Mary, a free spirit who has brought her lover, Trula, from the city, arrive at the island by boat from their homes on the mainland for a last dinner with their family. Yellow Mary plans to leave for Nova Scotia after her visit. Mr. Snead, a mainland photographer, accompanies Viola and takes portraits of the islanders before they leave their way of life forever. Intertwined with these narratives is the marital rift between Eli and his wife Eula, who is about to give birth after being raped by a white man on the mainland. Eli struggles with the fact that the unborn child may not be his and his mother's pressure for him to maintain his connection to his ancestors. The unborn child of Eli and Eula narrates the film tracing the legacy before her birth. Several other family members' stories unfold between these narratives. They include Haagar, a cousin who finds the old spiritual beliefs and provincialism of the island "backwards," and is impatient to leave for a more modern society with its educational and economic opportunities. Her daughter Iona longs to be with her secret lover St. Julien Lastchild, a Cherokee Native American, a resident of the island. Lastchild presents Iona with a letter confessing his devotion the day of Iona's departure asking her to stay with him. While the women prepare a traditional meal for the feast, which includes okra, yams and shellfish prepared at the beach, the men gather nearby in groups to talk and play games. The children and teenagers play games, practice religious rites on the beach, and have a Bible-study session with Viola. Yellow Mary and Eula bond as survivors of rape. Bilal Muhammad, a cousin that is believed to be Ibo but hails from the French West Indies, leads a Muslim prayer. Nana evokes the spirits of the family's ancestors who worked on the island's indigo plantations. Nana combines the power of their ancestors with Viola's Bible as a symbol of the old and the new. Eula and Eli reveal the history and folklore of the slave uprising and mass suicide at Ibo Landing. The Peazant family members make their final decisions to leave the island for a new beginning, or stay behind and maintain their way of life. Yellow Mary chooses to stay on the island along with Eli and Eula. In tears, Iona jumps off the boat prior to departing as Lastchild comes for her on horseback. Haagar is held back by another family member while calling for her daughter. Remaining family members watch as most of the Peazants finally depart.

BRINGING UP BABY (Howard Hawks, 1938)

David Huxley is a mild-mannered paleontologist. For the past four years, he has been trying to assemble the skeleton of a Brontosaurus but is missing one bone: the "intercostal clavicle." Adding to his stress is his impending marriage to Alice Swallow and the need to impress Elizabeth Random, who is considering a million-dollar donation to his museum. The day before his wedding, David meets Susan Vance by chance on a golf course. She plays his ball, but refuses to accept that she has made a mistake. She is a free-spirited, somewhat scatterbrained, young lady, unfettered by logic. These qualities soon embroil David in several frustrating incidents. Susan's brother Mark has sent her a tame leopard named Baby (Nissa) from Brazil. Its tameness is helped by hearing the song "I Can't Give You Anything But Love". Susan thinks David is a zoologist, and manipulates him into accompanying her in taking Baby to her farm in Connecticut. Complications arise when Susan falls in love with him, and she tries to keep him at her house as long as possible, even hiding his clothes, to prevent his imminent marriage. David's prized intercostal clavicle is delivered, but Susan's aunt's dog George takes it and buries it somewhere. When Susan's aunt arrives, she discovers David in a negligee. To David's dismay, she turns out to be Elizabeth Random. A second message from Mark makes clear the leopard is for Elizabeth, as she always wanted one. Baby and George run off. The zoo is called to help capture Baby. Susan and David race to find Baby before the zoo and, mistaking a dangerous leopard (also portrayed by Nissa) from a nearby circus for Baby, they let it out of its cage. David and Susan in jail. David and Susan are jailed by a befuddled town policeman, Constable Slocum, for acting strangely at the house of Dr. Fritz Lehman, where they have cornered the circus leopard, thinking it is Baby. When Slocum does not believe their story, Susan tells him they are members of the "Leopard Gang"; she calls herself "Swingin' Door Susie," and David "Jerry the Nipper."[a] Eventually, Alexander Peabody shows up to verify everyone's identity. Susan, who escapes out of a window during a police interview, unwittingly drags the highly irritated circus leopard into the jail. David saves her, using a chair to shoo the big cat into a cell. Some time later, Susan finds David, who has been jilted by Alice because of her, on a high platform working on his Brontosaurus reconstruction at the museum. After showing him the missing bone which she found by trailing George for three days, Susan, against his warnings, climbs a tall ladder next to the dinosaur to be closer to him. She tells David that her aunt has given her the million dollars, and she wants to donate it to the museum, but David is more interested in telling her that the day spent with her was the best day of his life. They declare their love for each other, and Susan, distracted by the moment, unconsciously swings the ladder from side to side. As they talk, and the ladder sways more and more with each swing, Susan and David finally notice that Susan is in danger. Frightened, she climbs onto the skeleton, eventually causing it to collapse. David grabs her hand before she falls, lifts her onto the platform, and halfheartedly complains about the loss of his years of work on his Brontosaurus as she talks him into forgiving her. Resigning himself to a future of chaos, David embraces and kisses Susan.

THE PASSENGER (Michelangelo Antonioni, 1975)

David Locke (Jack Nicholson) is a television journalist making a documentary film about post-colonial Africa. In order to finish the film, he is in the Sahara in northern Chad seeking to meet with and interview rebel fighters who are involved in the Chadian Civil War. Struggling to find rebels to interview, he is further frustrated when his Land Rover gets stuck on a sand dune after being abandoned by guides. After a long walk through the desert back to his hotel, a thoroughly exhausted and dispirited Locke discovers that an Englishman (Robertson), who has also been staying in the same hotel, and with whom he had struck up a casual friendship, has died overnight in his room from a heart condition. Locke decides to switch identities with Robertson. Posing as Robertson, Locke reports his own death at the front desk, where the hotel manager mistakes Locke for Robertson, and the plan goes off without a hitch. Locke collects Robertson's clothing and luggage which includes a pistol, a calendar diary and passport. Locke changes the photo in the passport with his and places the forged passport in his luggage. In London, Locke's wife Rachel (Jenny Runacre) has been having an affair with a man named Stephen (Steven Berkhoff). Rachel feels guilt-ridden and torn when she is informed of her husband's death, which we see reported in a newspaper obituary. She approaches Locke's friend, Martin (Ian Hendry), a television producer, in an attempt to get in touch with Robertson to try and learn more about her husband's last days. Meanwhile, Locke, posing as Robertson, has flown to Munich with the dead man's belongings, including his appointment book, which directs him to a locker in the airport. It contains a document wallet with a price-list and several photocopied pages illustrating armaments. After leaving the airport, and apparently acting on a whim, Locke follows a white horse and carriage to a wedding in a baroque chapel, where he waits at the back of the congregation. Once the wedding has finished and the guests have gone, two men who were observing Locke at the airport enter and ask why he did not contact them at the airport. They ask for "the documents." After Locke hands them the papers from the locker, they give him an envelope of money and tell him that the second half is to be paid in Barcelona. It becomes apparent that Robertson was gun-running for the same rebels whom Locke had been trying to contact in the Sahara. Prompted by Robertson's diary entries, Locke flies to Barcelona. There he spots his colleague and friend the TV producer Martin, who tries to track Robertson down on behalf of Rachel. Locke encounters an architecture student (Maria Schneider), credited only as The Girl, while trying to hide in a Gaudi building, La Pedrera. He asks her to fetch his belongings from the hotel so that he won't be seen there by Martin, who is casing the lobby. Martin overhears that she is collecting the baggage, and he confronts her outside, requesting that she take him to meet Robertson. She suggests that he follow her in a taxi, but by luck she manages to lose him. She and Locke leave Barcelona and become lovers on the run. Flush with cash from the down payment on the arms he cannot deliver, Locke is nevertheless drawn to keep a meeting scheduled in Robertson's diary. His appointed contact, however, does not show up. Meanwhile, the men arranging the arms deal are abducted, interrogated and beaten by hitmen operating for the Chadian government. Rachel receives Locke's belongings, returned from Africa. Having heard from Martin of his unsuccessful chase of the elusive Robertson, Rachel is shocked as she opens Locke's passport to Robertson's photo pasted inside. She heads to Spain to find Locke. The hitmen trail her. Rachel co-opts the Spanish police in her pursuit, but Locke and The Girl continue to flee. With the getaway car damaged, Locke sends her away, instructing her to meet him 3 days later in Tangiers, after he follows her advice to keep an appointment in the book. She departs by bus for Almería. Basically trapped, Locke checks into the Hotel de la Gloria in the Spanish town of Osuna, Locke finds out that The Girl has returned and booked a double room, posing as Mrs. Robertson. He again tries to persuade her to leave. She exits the hotel and dawdles around the dusty square outside, wanting to return to him. Soon, the Chadian agents arrive at the hotel, enter (various sounds and noises are heard but it is unclear what is occurring as the filming is shot from the inside- looking out the window) and depart just before the police arrive with Rachel Locke. The Girl joins them, and the group enter Locke's room, where they discover that he is dead. When asked by the police whether they recognized him, Rachel says that she never knew him, and the Girl says, "Yes."

THE WAGES OF FEAR (Henri-Georges Clouzot, 1953)

Frenchmen Mario and Jo, German Bimba and Italian Luigi are stuck in the isolated town of Las Piedras. Surrounded by desert, the town is linked to the outside world only by an airstrip, but the airfare is beyond the means of the men. There is little opportunity for employment aside from the American corporation that dominates the town, Southern Oil Company (SOC), which operates the nearby oil fields and owns a walled compound within the town. SOC exploits local workers and takes the law into its own hands, but the townspeople depend on it and suffer in silence. Mario is a sarcastic Corsican playboy who treats his devoted lover, Linda, with disdain. Jo is an aging ex-gangster who recently found himself stranded in the town. Bimba is an intense, quiet man whose father was murdered by the Nazis and who himself worked for three years in a salt mine. Luigi, Mario's roommate, is a jovial, hardworking man, who has just learned that he is dying from cement dust in his lungs. Mario befriends Jo due to their common background, having lived in Paris, but a rift develops between Jo and the other cantina regulars due to his combative, arrogant personality. A massive fire erupts at one of the SOC oil fields. The only way to extinguish the flames and cap the well is an explosion produced by nitroglycerine. With short notice and lack of proper equipment, it must be transported within jerrycans placed in two large trucks from the SOC headquarters, 500 km (300 miles) away. Due to the poor condition of the roads and the highly volatile nature of nitroglycerine, the job is considered too dangerous for the unionized SOC employees. The company foreman, Bill O'Brien, recruits truck drivers from the local community. Despite the dangers, many of the locals volunteer, lured by the high pay: US$2,000 per driver. This is a fortune to them, perhaps the only way out of their dead-end lives. The pool of applicants is narrowed down to four drivers: Mario, Bimba and Luigi are chosen, along with a German named Smerloff. Smerloff fails to appear on the appointed day, so Jo, who knows O' Brien from his bootlegging days, takes his place. The other drivers suspect that Jo intimidated Smerloff in some way to facilitate his own hiring. Jo and Mario transport the nitroglycerin in one vehicle; Luigi and Bimba are in the other, with thirty minutes separating them in order to limit potential casualties. The drivers are forced to deal with a series of physical and mental obstacles, including a stretch of extremely rough road called "the washboard", a construction barricade that forces them to teeter around a rotten platform above a precipice, and a boulder blocking the road. Jo finds that his nerves are not what they used to be, and the others confront Jo about his increasing cowardice. Finally, Luigi and Bimba's truck explodes without warning, killing them both. Mario and Jo arrive at the scene of the explosion only to find a large crater rapidly filling with oil from a pipeline ruptured in the blast. Jo exits the vehicle to help Mario navigate through the oil-filled crater. The truck, however, is in danger of becoming bogged down and, during their frantic attempts to prevent it from getting stuck, Mario runs over Jo. Although the vehicle is ultimately freed from the muck, Jo is mortally injured. On their arrival at the oil field, Mario and Jo are hailed as heroes, but Jo is dead and Mario collapses from exhaustion. Upon his recovery, he heads home in the same truck. He collects double the wages following his friends' deaths and refuses the chauffeur offered by SOC. Mario jubilantly drives down a mountain road as a party is being held at the cantina back in town, where Mario's friends eagerly await his arrival. He swerves recklessly and intentionally, having cheated death so many times on the same road. Linda, dancing in the cantina, faints. Mario takes a corner too fast and plunges through the guardrail to his death.

BLACK NARCISSUS (Michael Powell & Emeric Pressburger, 1947)

General Toda Rai, the Rajput ruler of a princely state in the Himalayas, invites the Congregation of The Servants of Mary to establish a school and hospital at Mopu, a dilapidated palace situated on a high cliff. Several monks previously failed to start a school there; the general's agent Mr Dean describes the social and environmental difficulties the sisters will face. The ambitious Sister Clodagh is appointed Sister Superior and is sent with four other nuns: Sister Philippa for gardening; Sister Briony for the infirmary; Sister Blanche, better known as "Sister Honey", to teach lace-making; and the emotionally unstable Sister Ruth for general classes. Mr Dean is unimpressed and predicts the women will last only until the beginning of the monsoon. While setting up the convent, the sisters face difficulties with the old palace and also the local Hindu population, often clashing with the native caretaker, Angu Ayah. They have difficulty accepting a holy man in their grounds (the general's uncle) who spends all his time in meditation of one of the mountains. The sisters take in Kanchi, a local girl, to try and control her erratic behavior, and they also tutor the general's heir—referred to as the Young General—in Western culture prior to a trip to Britain. Ayah whips Kanchi for stealing, but the Young General stops her. He soon falls in love with Kanchi, creating a situation that Mr Dean compares to the tale of The King and the Beggar-maid. Each convent member begins experiencing ill-health and emotional problems caused by their surroundings. Philippa loses herself in the environment and plants the vegetable garden with flowers. Ruth, already highly strung, becomes increasingly jealous of Clodagh and obsessed with Mr Dean, leading her to renounce the order. Clodagh recalls a failed romance which prompted her to join the order. Honey's growing attachment to the local children ends disastrously after she gives medication to a fatally-ill baby. The child's death angers the locals, who blame and abandon the mission, putting further strain on the sisters. Mr Dean fails to persuade Clodagh to leave before anything else untoward happens. One night Clodagh confronts the now-unstable Ruth, finding her wearing a modern dress she ordered to entice Mr Dean. Ruth escapes Clodagh's watch and finds Mr Dean. When he rebuffs her advances, she suffers a mental breakdown and returns to the mission, intent on killing Clodagh. When Clodagh rings the morning service bell, Ruth attempts to push her over the cliff edge. In the ensuing struggle, Ruth falls to her death. The mission leaves just as the monsoon season begins, with Clodagh's final request to Mr Dean that he tend Ruth's grave.

THRONE OF BLOOD (Akira Kurosawa, 1957)

Generals Miki and Washizu are samurai commanders and friends under Tsuzuki, a local lord who reigns in the castle of the Spider's Web Forest. After defeating the lord's enemies in battle, they return to his castle. On their way through the thick forest, they meet an evil spirit, who foretells their future, telling them that Washizu will be named Lord of the Northern Garrison and Miki will become commander of the first fortress that day. The spirit then foretells that Washizu eventually will become Lord of Spider's Web Castle, and finally Miki's son will become lord. When the two return to Tsuzuki's estate, he rewards them with exactly what the spirit had predicted. As Washizu discusses this with his wife Asaji, she manipulates him into causing the second part of the prophecy to come true by murdering Tsuzuki when he visits. Asaji gives drugged sake to Tsuzuki's guards, causing them to fall asleep and allowing Washizu to enter Tsuzuki's bedchamber and kill him in his sleep. When Washizu returns in shock at his deed, Asaji grabs the bloody spear and puts it in the hands of one of an unconscious guard, then cries out that an intruder has entered the castle; Washizu slays the guard before he has a chance to plead his innocence. Kunimaru, Tsuzuki's vengeful son, and Noriyasu, one of Tsuzuki's advisors, both suspect Washizu's treachery and try to warn Miki, who refuses to believe what they are saying about his friend. Under Asaji's influence, Washizu is unsure of Miki's loyalty, but chooses Miki's son as his heir because he and Asaji have no child of their own. Washizu plans to tell Miki and his son about his decision at a grand banquet. However, Asaji tells him that she is pregnant, which leaves him with a quandary concerning his heir; now Miki and his son have to be eliminated. During the banquet, Washizu is agitated because Miki and his son have not shown up, and drinks sake copiously. He loses his self-control when Miki's ghost suddenly appears. In a delusional panic, he reveals what has happened to Miki by exclaiming that he is willing to slay Miki a second time, unsheathing his sword and slashing at the empty air near Miki's seat. Attempting to cover for him, Asaji tells the guests that he is drunk and has everyone retire for the evening. One of Washizu's men arrives carrying a bundle containing the severed head of Miki, and tells Washizu and Asaji that Miki's son escaped. Washizu kills the assassin. Later, Washizu's men are beginning to doubt and fear him, and rumors circulate that Miki's son Yoshiteru, Kunimaru, and Noriyasu have joined forces with their onetime rival Inui. Washizu is distraught by the news that his heir has been born dead. In order to ascertain the outcome of the impending battle with his foes, he returns to the forest in search of the evil spirit. The spirit tells him that he will not be defeated in battle until "the trees of the Spider's Web Forest rise against the castle". Washizu believes this is impossible and becomes confident of his victory. Washizu tells his troops of the prophecy, and they share his confidence. The next morning, Washizu is awakened by the screams of Asaji's attendants. In her quarters, he finds Asaji in a semi-catatonic state, trying to wash clean an imaginary stain and stench of blood from her hands. Distracted by the sound of his troops, Washizu leaves to investigate. Washizu is told by a panicked soldier that the trees of Spider's Web Forest "have risen to attack us". Washizu tries to muster his troops, but they ignore his commands and begin firing arrows at him. several go through his armor and one pierces his neck, severely wounding him, and when he tells them that to kill their lord is treason, they accuse Washizu of the murder of his predecessor. With his enemies approaching the castle gates, he falls to his arrow wounds, trying to draw his sword as he dies. It is then revealed that the attacking force had used trees, cut from the forest during the night, to shield their advance onto the castle.

DAY FOR NIGHT (François Truffaut, 1973)

Day for Night chronicles the production of Je Vous Présente Paméla (Meet Pamela, or literally I Introduce You to Pamela), a clichéd melodrama starring aging screen icon Alexandre, former diva Séverine, young heartthrob Alphonse and British actress Julie Baker, who is recovering from both a nervous breakdown and the controversy over her marriage to her much older doctor. In between are several vignettes chronicling the stories of the crew members and the director, Ferrand, who deals with the practical problems of making a film. Behind the camera, the actors and crew experience several romances, affairs, break-ups and sorrows. The production is especially shaken up when one of the supporting actresses is revealed to be pregnant. Later, Alphonse's lover leaves him for the film's stuntman, which leads Alphonse into a palliative one-night stand with an accommodating Julie; thereupon, mistaking Julie's pity for true love, the infantile Alphonse informs Julie's husband of the affair. Finally, Alexandre dies on the way to hospital after a car accident.

SALVATORE GIULIANO (Francesco Rosi, 1962)

Derek Malcolm called it "almost certainly the best film about the social and political forces that have shaped Sicily, that benighted island." Gino Moliterno argued that "Rosi's highly original strategy in this landmark film is to aim at neither an "objective" journalistic documentary nor a fictional recreation but to employ as wide a range of disparate formal and stylistic elements as necessary to conduct a committed search for the truth that becomes, in a sense, its own narrative. David Gurevich said that "Rosi marries the neo-realist, black-and-white, populist aesthetic to the mad media circus of La Dolce Vita, tosses in some minimalist alienation from Antonioni, makes the film jump back and forth in time without any markers (so that you realize you're back in the present only a few minutes after you're already in a sequence), and makes his despair so infectious that we would probably be disappointed to know the truth."Terrence Rafferty noted that "Salvatore Giuliano manages to sustain an almost impossible balance of immediacy and reflection: it's such an exciting piece of filmmaking that you might not realize until the end that its dominant tone is contemplative, even melancholy." Director Martin Scorsese listed Salvatore Giuliano as one of his twelve favorite films of all time.

THE TARNISHED ANGELS (Douglas Sirk, 1957)

Disillusioned World War I flying ace Roger Shumann (Robert Stack) spends his days during the Great Depression making appearances as a barnstorming pilot at rural airshows with his parachutist wife LaVerne (Dorothy Malone), worshipful son Jack (Chris Olsen), and mechanic Jiggs (Jack Carson) in tow. New Orleans reporter Burke Devlin (Rock Hudson) is intrigued by the gypsy-like lifestyle of the former war hero, but is dismayed by his cavalier treatment of his family and soon finds himself attracted to the neglected LaVerne. Meanwhile, Roger barters with aging business magnate Matt Ord (Robert Middleton) for a plane in exchange for a few hours with his wife. Tragedy ensues when Jiggs' anger about his employer's refusal to face family responsibilities causes him to make a rash and fatal decision. He manages, with some difficulty, to get Shumann's aircraft to start, but the plane crashes and Shumann is killed. After rejecting and then reconciling with Devlin, LaVerne returns to Iowa with Jack.

IN A LONELY PLACE (Nicholas Ray, 1950)

Dixon "Dix" Steele is a down-on-his-luck Hollywood screenwriter who has not had a successful movie since before World War II. While driving to meet his agent, Mel Lippman, Dix's explosive temper is revealed when, at a stoplight, he engages with another motorist in a confrontation that almost becomes violent. Meeting with Mel at a nightclub, Dix is cajoled into adapting a book for a movie. The hat-check girl, Mildred Atkinson, is engrossed in reading the copy meant for Dix; since she only has a few pages left to go, she asks to be allowed to finish it. Dix claims to be too tired to read the novel, so he asks Mildred to go home with him to explain the plot. As they enter the courtyard of his apartment, they pass a new tenant, Laurel Gray. Mildred describes the story, confirming what Dix had suspected—the book is no good. Rather than drive her home as promised, he gives her cab fare instead. The next morning, Dix is awakened by his friend, police detective Brub Nicolai, who served under Dix during the war. Nicolai takes him downtown to be questioned by his superior, Captain Lochner, who reveals that Mildred was murdered and informs Dix that he is a suspect. Dix remembers that Laurel saw him letting Mildred out of his apartment, which Laurel confirms when brought in for questioning. Afterwards Dix strikes up conversation with Laurel and their mutual attraction is evident. When he gets home, Dix checks up on Laurel. He finds she is an aspiring actress with only a few low-budget films to her credit. They begin to fall in love and, with Laurel assisting him, Dix enthusiastically goes back to work, much to Mel's delight. Laurel takes a frightening ride with Dix At a dinner with Nicolai and his wife Sylvia, Dix has them re-enact the murder as he imagines it; his odd behavior leads Sylvia to doubt his innocence. Captain Lochner meets with Laurel again and sows seeds of doubt in her mind, pointing out Dix's record of violent behavior. Laurel confides in Sylvia her growing doubts about Dix. At a nightclub with Laurel, Dix spots Ted Barton, another detective, arriving with a female companion. Dix angrily leaves, believing that Barton is tailing him. Later, Laurel's masseuse Martha warns her about Dix's chequered romantic past, and Laurel grows irritated, kicking her out of the apartment. At a beach party with the Nicolais, Sylvia inadvertently reveals Laurel's follow-up meeting with Lochner; Dix furiously storms off. Laurel follows and gets into Dix's car; he drives erratically and at speed until they sideswipe another car. Nobody is hurt, but when the other driver accosts him, Dix beats him unconscious and is about to strike him with a large rock when Laurel stops him. Dix goes to the police station and attempts to clear his name, inadvertently meeting Mildred's boyfriend Henry Kesler, who works at a bank. Dix remarks to Nicolai that Kesler is a better suspect as he has a motive. At the Nicolai residence, Laurel asks Sylvia about Dix prompting the Nicolais to re-enact the murder, and tells her about Dix's roadside assault. Eventually, Laurel's doubts about Dix's innocence result in her being unable to sleep without taking pills. When he asks her to marry him, she accepts, but only because she is scared of how he might react if she refuses. Mel comes over to celebrate while Dix is away, only to find out that Laurel does not want to go through with the marriage and is making plans to escape to New York. She urges Mel to bring Dix's completed script to a producer. At a dinner to celebrate the engagement, Dix is annoyed to learn that Mel has submitted his script without his consent. Dix then intercepts a telephone call meant for Laurel at the table, angrily discovering it is Martha and slugging Mel when he tries to intervene. Back at Laurel's apartment, Dix flies into a rage when he sees that she has removed her engagement ring. After briefly calming down, Dix answers the phone, learning of Laurel's intended flight to New York. He again becomes violent, almost strangling Laurel before regaining control of himself when the phone rings again. It is Nicolai, who informs Dix and Laurel that Kesler has confessed to Mildred's murder. However, both Dix and Laurel realise that it is too late to salvage their relationship. Laurel watches in tears as Dix slowly walks away across the courtyard to his apartment.

EYES WIDE SHUT (Stanley Kubrick, 1999)

Dr. William "Bill" Harford and his wife Alice live in New York City with their daughter Helena. At a Christmas party hosted by patient Victor Ziegler, Bill reunites with old medical school classmate Nick Nightingale, who now plays piano professionally. An older Hungarian guest attempts to seduce Alice, while two young models try to seduce Bill. Host Victor interrupts with news of an overdose by Mandy, a young woman he was having sex with. Bill aids in Mandy's recovery. The next night, while smoking marijuana, Alice and Bill discuss their unfulfilled temptations. Bill isn't jealous of other men's attraction to Alice, believing women to be naturally faithful. Alice admits to fantasizing about a naval officer she met on vacation and considered leaving Bill and Helena. Bill is disturbed before being called to a patient's house. The patient's daughter, Marion, tries to seduce Bill, but he resists. After leaving Marion's, Bill meets a prostitute named Domino. When Alice calls, he pays Domino for a non-sexual encounter and meets Nick at a jazz club. Nick describes a masked orgy in a mansion outside New York City where he'll play piano blindfolded. Bill offers money to rent a costume from Milich's shop, where he finds Milich's daughter with two men. Bill goes to the mansion and gives the password, discovering a sexual ritual in progress. A masked woman warns him he's in danger. The master of ceremonies unmasks him, but the woman who warned him intervenes. She insists on redeeming him, at a personal cost. Bill is let off with a warning to keep quiet. Bill comes home feeling guilty and confused, only to find Alice laughing in her sleep. He wakes her up and she tearfully tells him about a dream where she was having sex with a naval officer and many other men, and laughing at the idea of Bill watching. The next day, Bill goes to Nick's hotel, but the desk clerk tells him that Nick left with two dangerous-looking men. Bill returns the costume, but realizes he has misplaced the mask, and learns that Milich has sold his teenage daughter into sex slavery. In the afternoon, consumed by thoughts of his wife's infidelity, Bill leaves work early and returns to the site of the orgy. At the front gate, he is handed an envelope with a warning to stay away. That evening, Bill tries to call Marion, but hangs up when her fiancé answers. He decides to go to Domino's apartment to consummate their affair, but is met by her roommate, Sally. Although there is sexual tension between them, Sally informs Bill that Domino has just received news that she is HIV-positive. Bill leaves. After leaving the apartment, Bill is followed by a mysterious figure. He discovers that an ex-beauty queen, Mandy, has died from an overdose and identifies her at the morgue. Later, Ziegler summons him and admits to being a guest at the orgy, revealing that Bill was identified through his association with Nick. Ziegler assures Bill that the secret society only aims to intimidate him into silence but implies that they are capable of taking action if necessary. Bill is concerned about Nick's disappearance and Mandy's death, whom he correctly identifies as the masked orgy participant who sacrificed herself for him. Ziegler claims Nick is safe and that Mandy died from an accidental overdose due to drug addiction. Bill returns home to find the rented mask on his pillow and confides in his wife, Alice, about the past two days. The next day, they go Christmas shopping with their daughter, and Bill apologizes to Alice. She suggests they do something "as soon as possible," to which Bill asks what she means, and Alice simply responds with one word, "****."

ONLY ANGELS HAVE WINGS (Howard Hawks, 1939)

Geoff Carter is the head pilot and manager of Barranca Airways, a small, barely solvent company owned by "Dutchy" Van Ruyter carrying airmail from the fictional South American port town of Barranca through a high pass in the Andes Mountains. Bonnie Lee, a piano-playing entertainer, arrives on a banana boat one day. After making her acquaintance, Joe Souther crashes and dies trying to land in fog later that day. Bonnie becomes infatuated with Geoff, despite his fatalistic attitude about the dangerous flying, and stays on in Barranca (not at his invitation, as he insists on telling her). The situation is complicated by the arrival of pilot Bat MacPherson and his wife (and Geoff's old flame) Judy. McPherson cannot find work in the United States because he once bailed out of an airplane, leaving his mechanic—the brother of "Kid" Dabb, Carter's best friend—to die in the ensuing crash. When Geoff is forced to ground the Kid because of failing eyesight, he hires MacPherson on the understanding that he will get the most dangerous assignments. Dutchy will secure a lucrative government contract if he can provide reliable mail service during a six-month trial. On the last day of the probation period, bad weather closes the mountain pass. Geoff decides to try to fly a new Ford Trimotor over the mountains instead. The Kid asks to go with him as co-pilot. Geoff refuses, but then lets the Kid toss a coin to decide the matter. When it lands on the floor, Geoff discovers that the coin has two heads. Geoff still agrees to take him along. Just before leaving, Bonnie tries to talk Geoff out of going. She takes his gun out of his holster and points it at him. When she realizes that she cannot stop him, she drops the gun on the table, but it accidentally fires, hitting Geoff in the shoulder. Unable to fly, Geoff lets MacPherson take his place. However, MacPherson and the Kid are unable to climb high enough; the plane stalls and drops thousands of feet before leveling off. Geoff tells them to turn around, but they decide to try to fly through the fogged-in pass. In the pass, they encounter a flock of condors. One crashes through the windshield, paralyzing the Kid; another hits the No. 1 engine, setting it on fire. Later the No. 2 engine also catches fire. The Kid tells MacPherson to bail out, but he refuses. He turns around and returns to Barranca, managing to crash-land the burning Trimotor on the field. The Kid dies from a broken neck, but not before telling Geoff what MacPherson did. As a result, MacPherson is finally accepted by the other pilots. Bonnie is torn between leaving and staying, and confronts Geoff in the hope he will ask her to stay. However, with mere hours to spare on the trial period, the weather clears and Geoff has to rush off to secure the all-important contract. Before he goes, he offers to toss a coin to decide: heads, Bonnie stays; tails, she leaves. The coin comes up heads, but Bonnie despairs that this is the result of chance, not love. Geoff leaves her with the coin. She then realizes that it is the Kid's trick coin, dispelling her sadness.

THE SEVENTH SEAL (Ingmar Bergman, 1957)

Disillusioned knight Antonius Block and his cynical squire Jöns return from the Crusades to find the country ravaged by the plague. The knight encounters Death, whom he challenges to a chess match, believing he can survive as long as the game continues. The game they start continues throughout the story. Death and Antonius Block choose sides for the chess game The knight and his squire pass a caravan of actors: Jof and his wife Mia, with their infant son Mikael and actor-manager Jonas Skat. Waking early, Jof has a vision of Mary leading the infant Jesus, which he relates to a smilingly disbelieving Mia. Block and Jöns visit a church where a fresco of the Danse Macabre is being painted, and the squire chides the artist for colluding in the ideological fervor that led to the crusade. In the confessional, Block tells the priest he wants to perform "one meaningful deed" after what he now sees as a pointless life. Upon revealing to him the chess tactic that will save his life, the knight discovers that it is actually Death with whom he has been speaking. Leaving the church, Block speaks to a young woman condemned to be burned at the stake for consorting with the devil. He believes she will tell him about life beyond death, only to find that she is insane. In a deserted village, Jöns saves a mute servant girl from being raped by Raval, a theologian who ten years earlier persuaded the knight to join the Crusades and is now a thief. Jöns vows to destroy his face if they meet again. Jöns kisses the servant girl, who resists his advance. Jöns then tells the girl to repay her debt by becoming his servant. The girl reluctantly agrees. The group goes into town, where the actors are performing. There, Skat is enticed away for a tryst by Lisa, wife of the blacksmith Plog. The stage show is interrupted by a procession of flagellants led by a preacher who harangues the townspeople. At the town's inn, Raval manipulates Plog and other customers into intimidating Jof. The bullying is broken up by Jöns, who slashes Raval's face. The knight and squire are joined by Jof's family and a repentant Plog. Block enjoys a picnic of milk and wild strawberries that Mia has gathered and declares, "I'll carry this memory between my hands as if it were a bowl filled to the brim with fresh milk... And it will be an adequate sign — it will be enough for me." Block now invites Plog and the actors to shelter from the plague in his castle. When they encounter Skat and Lisa in the forest, she returns to Plog, while Skat fakes a remorseful suicide. As the group moves on, Skat climbs a tree to spend the night, but Death appears beneath and cuts down the tree. Meeting the condemned woman being drawn to execution, Block asks her to summon Satan so he can question him about God. The girl claims she has done so, but the knight only sees her terror and gives her herbs to take away her pain as she is placed on the pyre. The final scene depicting the Danse Macabre They encounter Raval, stricken by the plague. Jöns stops the servant girl from uselessly bringing him water, and Raval dies alone. Jof tells his wife that he can see the knight playing chess with Death and decides to flee with his family, while Block knowingly keeps Death occupied. As Death states "No one escapes me", Block knocks the chess pieces over but Death restores them to their place. On the next move, Death wins the game and announces that when they meet again, it will be the last time for all. Death then asks Block if he achieved the "meaningful deed" he wished to accomplish and the knight replies that he has. Block is reunited with his wife and the party shares a final supper, interrupted by Death's arrival. The other members of the party then introduce themselves, and the mute servant girl greets him with "It is finished." Jof and his family have sheltered in their caravan from a storm, which he interprets as the Angel of Death passing by. In the morning, Jof's second sight allows him to see the knight and his companions being led away over the hillside in a sombre Dance of Death.

EUROPA '51 (Roberto Rossellini, 1952)

Due to a labour strike, Irene Girard, wife of American industrialist George Girard, returns late to their apartment in post-war Rome, where she is giving a dinner party for their relatives. Her young son Michel laments that she has hardly time for him, to which she replies that it's time for him to grow up and stop being over-sensitive. During dinner, the guests get involved in a debate about politics. While Irene's cousin André, a Communist who writes for a political newspaper, predicts peace for the world, a conservative friend of Irene is convinced that the world is heading straight for war. The party abruptly comes to an end when Michel falls down the building's stairs and is hospitalised for a fracture of the hip bone. At the hospital, Irene learns that Michel might have hurt himself by purpose to receive attention. Irene promises Michel that from now on she will always stay with him. When Michel dies shortly after from a blood clot, Irene falls into a crisis. After a few days, Irene is called up by André and agrees to meet with him. Like her husband and mother, he urges her to find a way out of her present state and stop blaming herself for Michel's death. If there were anyone to blame, it was post-war society and the child's growing up in fear during a war. He tells Irene of a young boy doomed to die because his poor family can't afford to pay for the expensive medicine. After paying a visit to the boy's home with André, Irene, shaken by the poor circumstances which the family lives in, donates the money needed for the medication. On her next visit, she is thanked by the child's family and the neighbours who gather spontaneously. A young woman neighbour, Ines, shows up and complains about the noise which prevents her from sleeping. The neighbours, speaking disdainfully of her, tell Irene that Ines is working as a prostitute during the night. Irene meets a young woman living with six children in a small shack by the river. Three of the children are her own, which she had with a lover who left her, while the three others are orphans taken in by her. Asked by Irene to help the young woman, André secures her a job at a local factory. Shortly before her first day at the factory, the young woman tells Irene that she wants to meet a man she once knew and can't show up at her job. Irene steps in for her and is concerned about the working conditions. When she later tells André of her experience, he argues that the exploited have to be freed, even if it means the use of violence. Irene rejects his view, as for her, love is the only answer to the world's troubles, and says that she is dreaming of a paradise both for the living and the departed. At home, she is accused by George of having an affair with André. After visiting a church, Irene runs into Ines, who just had a confrontation with other prostitutes for streetwalking in their district. Irene takes Ines back to her home, where Ines coughs up blood. She has her examined by a doctor, who declares that Ines is in the final state of tuberculosis and that her case is hopeless. Irene watches over Ines, who eventually dies of her illness. When she goes to a neighbour to bring her the news, she is confronted with their armed teenage son, who is on the run from the police after a bank robbery. Irene helps him escape, but urges him to turn himself in by his own free will. Irene is taken into custody by the police for helping a delinquent escape. When the teenage robber turns himself in, and George's lawyer appeals to the police arguing that Irene is in a state of shock after her son's death, and that her husband is an important representative of the American industry, she is put under observation in a mental institution. There, she has a discussion with a priest who appreciates her desire to help as being of a true Christian spirit, but argues that all help and acts of love have to follow certain regulations. Irene disagrees, calling these regulations responsible for the evils in this world, which can only be overcome with love and compassion for oneself and everybody else. Shortly after, she witnesses an inmate being rescued from a suicide attempt. She lies down next to the woman, telling her that she is not alone and that she will stay by her side. Some time later, Irene is questioned by a committee, consisting of representatives of the law, George's lawyer, and the head of the mental institution. Again, she tries to explain her motives by saying that she simply wants to help those who are in need of help, and that salvation is only possible if everyone is saved. As her explanation does neither suffice from a radical political nor a dogmatic Christian point of view, she is declared mentally unstable and institutionalised. Under the window of her room, the family of the saved poor boy, their neighbours and the young woman from the shack have gathered, calling her a saint. Irene looks down at them, both crying and smiling.

DEEP RED (Dario Argento, 1975)

During Christmas at a family home, one figure stabs another to death. A bloody knife falls to the floor at a child's feet. Twenty years later in Turin, Professor Giordani chairs a parapsychology conference featuring psychic medium Helga Ulmann. Helga is suddenly overwhelmed by the "twisted, perverted, murderous" thoughts of someone in the audience and claims hearing a child's song. She believes she can identify this person; an unseen figure suddenly leaves the theater. Later that night, a black-gloved figure invades Helga's apartment and kills her with a meat cleaver. English Jazz musician and bandleader Marcus Daly sees the murder from the window as he passes by, and rushes to her apartment, finding her mutilated corpse. After the police arrive, Marcus thinks one of the apartment's paintings has disappeared, but he cannot pinpoint what exactly is missing. The media identifies Marcus as the eyewitness and shows reporter Gianna Brezzi's photo of him. The next morning, Marcus visits the home of his heavy-drinking friend, Carlo, to check on him but only finds Carlo's eccentric mother Martha, who seems interested in Marcus. That night, the killer plays a recording of a child's song outside Marcus's door; he manages to lock the door before the person can enter, but he hears the gruff whisper, "I'll kill you sooner or later." Marcus tells Giordani, whom he met at Helga's funeral, about the encounter. Giordani, noting that Helga also heard a child's song, recalls a book of modern folklore describing a local haunted house where a child's song is sometimes heard. Feeling guilty for taking his photo, Gianna begins helping Marcus. Marcus reads the folklore book and finds a photo of the house in it. He rips out the picture, planning to learn more from the book's author. However, the killer, who has been watching Marcus, attacks the author and drowns her in scalding water. Using the photo, Marcus finds and investigates the huge abandoned house. Under sheetrock he uncovers a disturbing mural: a child holding a bloody knife over a dead body. After he leaves, a loose chunk of sheetrock falls away, revealing another person at the scene depicted in the drawing. Meanwhile, Giordani, who has been assisting Marcus' investigation, visits the scene of the author's murder and uses steam to find a clue written on the mirror. However, later the killer distracts him with a mechanized doll, before murdering him. Villa Scott, "The House of the Screaming Child" in the film. Marcus finds a walled-off room in the abandoned house. In the middle of the dusty floor sits a desiccated corpse. Someone knocks Marcus unconscious as he backs away in horror. He awakens outside the house, which is burning. Gianna appears, explaining that she got his message about investigating the house and arrived in time to save him. As Marcus and Gianna wait at the caretaker's house for the police, Marcus notices that the caretaker's daughter has drawn a picture identical to the hidden mural he found in the house. She tells him she saw the picture in the archives of the local school. Marcus and Gianna immediately go to the school. Marcus finds the drawing in a schoolboy's record. When Gianna leaves to call the police, someone stabs her. Marcus corners the attacker-it is Carlo, who as a child drew the disturbing pictures. The police arrive, and Carlo flees into the dark street where a garbage truck hits him and drags him down the street. When the truck stops, an oncoming car runs over Carlo's head. At the hospital, Marcus learns that Gianna has survived. Remembering that the night Helga died he met Carlo utterly intoxicated and coming from a very different direction than the scene of the killing, Marcus reinvestigates the apartment crime scene. There, he has an epiphany: the night of Helga's murder it was not a missing painting he saw when he entered the apartment, but rather a reflection of the killer, framed in a mirror. As Marcus realizes he saw Martha, Carlo's mother, she appears behind him with a meat cleaver. Martha explains that she murdered her husband, while the child's song played in the back, in front of the young Carlo, as he had intended to put her in an insane asylum. She then walled off the room containing his body. Carlo, scarred psychologically, tried to repress the memory of the homicide compulsively drawing it and later taking up alcohol: he attacked Marcus and Gianna to protect his murderous mother from their investigation. Martha attacks Marcus and wounds him with the cleaver. After Martha's necklace tangles in the bars of the building's elevator, Marcus sends the elevator down, decapitating her.

BONNIE AND CLYDE (Arthur Penn, 1967)

During the Great Depression, Clyde Barrow and Bonnie Parker of Texas meet when Clyde tries to steal Bonnie's mother's car. Bonnie, who is bored by her job as a waitress, is intrigued by Clyde and decides to take up with him and become his partner in crime. They pull off some holdups, but their amateur efforts, while exciting, are not very lucrative. Bonnie and Clyde turn from small-time heists to bank robbing. The duo's crime spree shifts into high gear once they hook up with a dim-witted gas station attendant, C.W. Moss. Their exploits also become more violent. After C.W. botches parking during a bank robbery and delays their escape, Clyde shoots the bank manager in the face when he jumps onto the slow-moving car's running board. Clyde's older brother Buck and his wife, Blanche, a preacher's daughter, also join them. The two women dislike each other at first sight, and their antipathy escalates. Blanche has nothing but disdain for Bonnie, Clyde, and C.W., while Bonnie sees Blanche's flightiness as a constant danger to the gang's survival. In Joplin, Missouri, local police drive to the hideout thinking the gang are bootleggers; two policeman are killed in a shootout. The gang is pursued by law enforcement, including Texas Ranger Frank Hamer, whom they capture and humiliate before setting him free. The five outlaws then pull a heist, during which a police chase disables their vehicle. They steal Eugene Grizzard's car and take him and his girlfriend hostage before quickly abandoning them when they learn he is an undertaker. Bonnie wants to visit her family in Texas and give them part of the heist funds, to which Clyde reluctantly acquiesces despite the risk. The gang is caught off guard by an ambush by law enforcement overnight, resulting in many casualties. Buck is mortally wounded by a shot to his head, and Blanche is injured in one eye, losing sight in it. Bonnie, Clyde, and C.W. barely escape alive, while Blanche falls into police custody. Hamer then tricks her into revealing C.W.'s name (until then he was only an "unidentified suspect"). Hamer finds Bonnie, Clyde, and C.W. hiding at the house of C.W.'s father Ivan, who thinks the couple have corrupted his son (as evidenced by an ornate tattoo Bonnie convinced C.W. to get). The elder Moss strikes a bargain with Hamer: in exchange for leniency for C.W., he sets a trap for the outlaws. When Bonnie and Clyde stop on the side of the road to help Mr. Moss fix a flat tire, the police in the bushes open fire and riddle them with bullets. Hamer and his posse come out of hiding and look pensively at the couple's bodies as a nearby flock of swallows flies away.

THE ASCENT (Larisa Shepitko, 1976)

During the Great Patriotic War (World War II), two Soviet partisans go to a Belarusian village in search of food. After taking a farm animal from the collaborationist headman (Sergei Yakovlev), they head back to their unit, but are spotted by a German patrol. After a protracted gunfight in the snow in which one of the Germans is killed, the two men get away, but Sotnikov (Boris Plotnikov) is shot in the leg. Rybak (Vladimir Gostyukhin) has to take him to the nearest shelter, the home of Demchikha (Lyudmila Polyakova), the mother of three young children. However, they are discovered and captured. The two men and a sobbing Demchikha are taken to the German headquarters. Sotnikov is interrogated first by local collaborator Portnov (Anatoli Solonitsyn), a former Soviet club-house director and children's choirmaster who became the local head of the Belarusian Auxiliary Police, loyal to the Germans. When Sotnikov refuses to answer Portnov's questions, he is brutally tortured by members of the collaborationist police, but gives up no information. However, Rybak tells as much as he thinks the police already know, hoping to live so he can escape later. Portnov offers him the job of policeman. The headman, now suspected of supporting the partisans, and Basya Meyer, the teen daughter of a Jewish shoemaker, are imprisoned in the same cellar for the night. The next morning, all are led out to be hanged. Rybak accepts Portnov's offer and the Germans let him join the police. Sotnikov and the others are executed. As he heads back to the camp with his new comrades, Rybak is vilified by the villagers. Realizing what he has done, he tries to hang himself in the outhouse with his belt, but fails. A fellow policeman calls for Rybak until Rybak opens the door. The policeman tells him that their commander wants him and leaves him alone in the courtyard. Rybak stares out the open door and begins to laugh and weep.

GOODBYE, DRAGON INN (Tsai Ming-liang, 2003)

During the last 90 minutes of a screening of Dragon Inn at an old Taipei cinema about to close down, the hobbled ticket woman tries to find the projectionist to give him a steamed bun. A Japanese tourist seeks a homosexual encounter; Chen Chao-jung brushes off his advance and tells him the place is haunted. Jun Shi, an actor in Dragon Inn, watches the film with tears in his eyes. Outside, he meets Miao Tien, who also acted in the film and attended the screening with his grandson.

FLOATING WEEDS (Yasujiro Ozu, 1959)

During the summer of 1958 at a seaside town on the Inland Sea, a travelling theatre troupe arrives by ship, headed by the troupe's lead actor and owner, Komajuro. While the rest of the troupe goes around the town to publicize their appearance, Komajuro visits his former mistress, Oyoshi, who runs a small eatery in the town. They have a grown-up son, Kiyoshi, who works at the post office as a mail clerk and is saving up to study at the university. However, he doesn't know who Komajuro is, having been told he is his uncle. Komajuro invites Kiyoshi to go fishing at sea. When Sumiko, the lead actress of the troupe and Komajuro's present girlfriend, learns that Komajuro is visiting his former mistress, she becomes jealous and visits Oyoshi's eatery. Komajuro chases her away quickly and confronts her. He tells her to back off from his son and decides to break up with her. Sumiko calls Komajuro an ingrate and reminds him of the times she has helped him out in the past. One day, Sumiko offers Kayo, a young actress from the same troupe, some money and asks her to seduce Kiyoshi. Although Kayo is initially reluctant, she agrees after Sumiko's insistence without being told why. However, after knowing Kiyoshi for some time, she falls for him and decides to tell Kiyoshi the truth about how their relationship started. Kiyoshi is undaunted and says it does not matter to him, and eventually their relationship is discovered by Komajuro. Komajuro confronts Kayo, who tells him of Sumiko's setup, but only after asserting she now loves Kiyoshi and is not doing it for money. Komajuro attacks Sumiko and tells her to disappear from his sight. She pleads for reconciliation but he is indignant. Meanwhile, the troupe's old-fashioned kabuki-style performances fail to attract the town's residents; the other actors pursue their own romantic diversions at local businesses, including a brothel and a barber shop. Eventually, the manager of the troupe abandons them and a principal supporting player absconds with the remaining funds. Komajuro has no choice but to disband the troupe, and they meet for a melancholy last night together. Komajuro then goes to Oyoshi's place and tells her of the break-up. Oyoshi persuades him to tell Kiyoshi the truth about his parenthood and then stay together with them at her place as a family. Komajuro agrees. When Kiyoshi returns with Kayo, Komajuro becomes so enraged that he beats both of them repeatedly, leading to a tussle between Kiyoshi and him. To stifle the brawl, Oyoshi reveals to him the truth about Komajuro. Kiyoshi first responds that he had suspected it all along, but then refuses to accept Komajuro as his father, saying he has coped well without one so far and goes upstairs. Taking in Kiyoshi's reaction, Komajuro decides to leave after all. Kayo wants to join Komajuro to help him achieve success for the family, but a chastened Komajuro asks her to stay to help make Kiyoshi a fine man, as Komajuro's always hoped. Kiyoshi later has a change of heart and goes downstairs to look for Komajuro, but his father has already left, and Oyoshi tells Kiyoshi to let him go. At the train station in town, Komajuro tries to light a cigarette but has no matches. Sumiko, who is sitting nearby, offers him a light. She asks where he is going and asks to accompany him since she now has no place to go. They reconcile and Sumiko decides to join Komajuro to start anew under another impresario at Kuwana.

ALIENS (James Cameron, 1986)

Ellen Ripley has been in stasis for 57 years aboard an escape shuttle after destroying her ship, the Nostromo, to escape an alien creature that slaughtered the rest of the crew. She is rescued and debriefed by her employers at the Weyland-Yutani Corporation, who are skeptical about her claim of alien eggs in a derelict ship on the exomoon LV-426,[a] since it is now the site of a terraforming colony. After contact is lost with the colony, Weyland-Yutani representative Carter Burke and Colonial Marine Lieutenant Gorman ask Ripley to accompany them to investigate. Still traumatized by her alien encounter, she agrees on the condition that they exterminate the creatures. Ripley is introduced to the Colonial Marines on the spaceship Sulaco but is distrustful of their android, Bishop, because the android aboard the Nostromo betrayed its crew to protect the alien on company orders. A dropship delivers the expedition to the surface of LV-426, where they find the battle-ravaged colony and two live alien facehuggers in containment tanks, but no bodies or colonists except for a traumatized young girl, nicknamed Newt. The team locates the colonists beneath the fusion-powered atmosphere processing station and heads to their location, descending into corridors covered in alien secretions. At the station center, the Marines find opened eggs and dead facehuggers alongside the cocooned colonists now serving as incubators for the creatures' offspring. The Marines kill an infant alien after it bursts from a colonist's chest, rousing several adult aliens who ambush the Marines and kill or capture many of them. When the inexperienced Gorman panics, Ripley assumes command, takes control of their armored personnel carrier, and rams the nest to rescue Corporal Dwayne Hicks and Privates Hudson and Vasquez. Hicks orders the dropship to recover the survivors, but a stowaway alien kills the pilots, and it crashes into the station. Almost out of ammunition and resources, the survivors barricade themselves inside the colony. Ripley discovers that Burke ordered the colonists to investigate the derelict spaceship containing the alien eggs, intending to profit by recovering them for biological weapon research. Before she can expose him, Bishop informs the group that the dropship crash damaged the power-plant cooling system and the plant will soon overheat and explode, destroying the colony. He volunteers to travel to the colony transmitter and remotely pilot the Sulaco's remaining dropship to the surface. After falling asleep in the medical laboratory, Ripley and Newt awaken to find themselves trapped with the two released facehuggers. Ripley triggers a fire alarm to alert the Marines, who rescue them and kill the creatures. She accuses Burke of releasing the facehuggers to implant her and Newt with alien embryos, allowing him to smuggle them through Earth's quarantine. The power is suddenly cut, and aliens attack through the ceiling. In the ensuing firefight, the aliens kill Burke, subdue Hudson, and injure Hicks; the cornered Gorman and Vasquez sacrifice themselves to avoid capture. Newt is separated from Ripley and taken by the creatures. Ripley brings Hicks to Bishop in the second dropship, but she refuses to abandon Newt and arms herself before descending into the processing station hive alone to rescue her. During their escape, they encounter the alien queen surrounded by dozens of eggs, and when one begins to open, Ripley uses her weapons to destroy them all and the queen's ovipositor. Pursued by the enraged queen, Ripley and Newt join Bishop and Hicks on the dropship and escape moments before the station explodes, consuming the colony in a nuclear blast. Aboard the Sulaco, the group is ambushed by the queen, who stowed away in the dropship's landing gear. The queen tears Bishop in half and advances on Newt, but Ripley fights the creature with an exosuit cargo loader and expels it through an airlock into space while the damaged Bishop keeps Newt safe. Ripley, Newt, Hicks, and Bishop enter hypersleep for their return trip to Earth.

MY DARLING CLEMENTINE (John Ford, 1946)

In 1882 (a year after the actual gunfight at the O.K. Corral on October 26, 1881), Wyatt, Morgan, Virgil, and James Earp are driving cattle to California when they encounter Old Man Clanton and his sons. Clanton offers to buy their herd, but they curtly refuse to sell. When the Earps learn about the nearby boom town of Tombstone, the older brothers ride in, leaving the youngest, James, as watchman. The threesome soon learns that Tombstone is a lawless town without a marshal. Wyatt proves the only man in the town willing to face a drunken Indian shooting at the townspeople. When the brothers return to their camp, they find their cattle rustled and James murdered. Wyatt returns to Tombstone. Seeking to avenge James's murder, he takes the open position of town marshal and encounters the hot-tempered Doc Holliday and scurrilous Clanton gang several times. During this time, Clementine Carter, Doc's former love interest from his hometown of Boston, arrives after a long search for her beau. She is given a room at the same hotel where both Wyatt and Doc Holliday reside. Chihuahua, a hot-tempered Latina love interest of Doc's, sings in the local saloon. She runs afoul of Wyatt trying to tip a professional gambler off to his poker hand, resulting in Wyatt dunking her in a horse trough. Doc, who is suffering badly from tuberculosis and fled from Clementine previously, is unhappy with her arrival; he tells her to return to Boston or he will leave Tombstone. Clementine stays, so Doc leaves for Tucson. Wyatt, who has been taken by Clementine since her arrival, begins to awkwardly court her. Angry over Doc's hasty flight Chihuahua starts an argument with Clementine. Wyatt walks in on their spat and breaks it up. He notices Chihuahua is wearing a silver cross that had been taken from his brother James the night he'd been killed. She claims Doc gave it to her. Wyatt chases down Doc, with whom he has had a testy relationship. Doc forces a shoot-out, ending with Wyatt shooting a pistol out of Doc's hand. The two return to Tombstone, where after being questioned, Chihuahua reveals the silver cross was actually given to her by Billy Clanton. During the interrogation Billy shoots Chihuahua through a window and takes off on horseback, but is wounded by Wyatt. Wyatt directs his brother Virgil to pursue him. The chase leads to the Clanton homestead, where Billy dies of his wounds. Old Man Clanton then shoots Virgil in the back in cold blood. In town, a reluctant Doc is persuaded to operate on Chihuahua. Hope swells for her successful recovery. The Clantons then arrive, toss Virgil's body on the street and announce they will be waiting for the rest of the Earps at the O.K. Corral. Chihuahua dies and Doc decides to join the Earps, walking alongside Wyatt and Morgan to the corral at sunup. A gunfight ensues in which most of the Clantons are killed, as is Doc. Wyatt and Morgan resign as law enforcers. Morgan heads West in a horse and buggy. Wyatt bids Clementine farewell at the school house, wistfully promising that if he ever returns he will look her up. Mounting his horse, he muses aloud, "Ma'am, I sure like that name...Clementine," and rides off to join his brother.

THERE WILL BE BLOOD (Paul Thomas Anderson, 2007)

In 1898, Daniel Plainview finds silver while prospecting in New Mexico but breaks his leg. Dragging himself from the pit, he takes a sample to an assay office and receives a silver and gold claim. In 1902, he discovers oil near Los Angeles and establishes a drilling company. Following the death of a worker in an accident, Daniel adopts the man's orphaned son. The boy, H.W., becomes his nominal business partner, allowing Daniel to present himself to potential investors as a family man. In 1911, Daniel is approached by Paul Sunday, a young man who tells him of an oil deposit under his family's property in Little Boston, California. Daniel visits the Sundays' property and meets Paul's identical twin brother Eli, a local preacher. Daniel attempts to purchase the farm from the Sundays at a bargain price under the ruse of using it to hunt quail, but his motives are questioned by Eli who knows the land has drilling potential. In exchange for the property, Eli demands $10,000 for his church. An agreement is made and Daniel acquires all the available land in and around the Sunday property, save for one holdout, William Bandy, after Daniel neglected to negotiate with him. Eli asks to bless the well before drilling begins; Daniel initially agrees, but refuses to allow it when the time comes. Oil drilling begins and a series of misfortunes occur: an accident kills one worker and a gas blowout deafens H.W. and destroys the drilling infrastructure. Eli blames the disasters on the well not having been blessed. When Eli publicly demands the money still owed to him, Daniel beats and humiliates him. At the dinner table that night, Eli attacks and berates his father for having trusted Daniel. A man arrives at Daniel's doorstep claiming to be his half-brother, Henry; Daniel hires him. A jealous H.W. sets fire to their house, intending to kill Henry. Daniel sends H.W. to a school for the deaf in San Francisco. A Standard Oil representative offers to buy out Daniel's local interests, but, after a perceived slight, Daniel refuses and instead strikes a deal with Union Oil to build a pipeline to the California coast. However, Bandy's ranch remains an impediment. Daniel becomes suspicious of Henry and confronts him one night at gunpoint. "Henry" confesses that he was a friend of the real Henry, who died of tuberculosis, and that he had impersonated Henry in the hope that Daniel could give him a job. Enraged, Daniel murders the impostor and buries his body. Daniel drinks heavily and weeps. The next morning, Daniel is awakened by Bandy, who knows of Daniel's crime and wants him to publicly repent in Eli's church in exchange for an easement for the pipeline running across his land. As part of his baptism, Eli humiliates Daniel and coerces him into confessing that he abandoned his son. Later, while the pipeline is being built, H.W. reunites with Daniel, and Eli leaves Little Boston for missionary work. In 1927, H.W. marries Mary Sunday, the younger sister of Paul and Eli. Daniel, now extremely wealthy but a raging alcoholic, lives alone in a large mansion. H.W. asks his father to dissolve their partnership so that he can establish his own independent drilling company in Mexico. Daniel angrily mocks H.W.'s deafness before revealing his true origins as a "bastard from a basket". H.W. tells Daniel he is glad that they are not related and walks out; Daniel jeers at H.W. as he departs. While Daniel, drunk, is in his mansion's private bowling alley, Eli, now a radio preacher, visits him. Eli offers to sell Daniel the Bandy ranch property rights, since Bandy has recently died. Daniel agrees on condition that Eli denounces his faith and credibility. Eli acquiesces, after which Daniel coldly reveals that the property is now worthless, because his neighboring wells have already drained the same oil reservoir, like a straw drinking a "milkshake". Desperate, Eli confesses to having lost money in the 1929 stock market crash and having strayed morally. Daniel taunts Eli before chasing him around the bowling alley and killing him with a bowling pin. When his butler appears to ask about the commotion, Daniel announces, "I'm finished."

MCCABE & MRS. MILLER (Robert Altman, 1971)

In 1902 Washington state, a gambler named John McCabe arrives mysteriously and mumbling to himself in the town of Presbyterian Church, named after its only substantial building, a tall but mostly unused chapel. McCabe quickly takes a dominant position over the town's simple-minded and lethargic miners, thanks to his aggressive personality and rumors that he is a gunfighter. McCabe establishes a makeshift brothel, consisting of three prostitutes purchased for $200 from a pimp in the nearby town of Bearpaw. British cockney Constance Miller arrives in town and tells him she could run a brothel for him more profitably. The two become financially successful business partners, open a higher-class establishment including a bathhouse for hygiene, and a romantic relationship develops between the two, though she charges him for sex. As the town becomes richer, Sears and Hollander, a pair of agents from the Harrison Shaughnessy Mining Company in Bearpaw, arrive to buy out McCabe's business, as well as the surrounding zinc mines. Shaughnessy is notorious for having people killed when they refuse to sell. McCabe does not want to sell at their initial price of $5,500, but he overplays his hand in the negotiations in spite of Mrs. Miller's warnings that he is underestimating the violence that will ensue if they do not take the money. Three bounty hunters - Butler, Breed and Kid - are dispatched by the mining company to kill McCabe, as well as make an example of him, but he refuses to abandon the town. Clearly afraid of the gunmen when they arrive in town, McCabe initially tries to appease them. Butler confronts him about his earlier story that he is successful gunfighter "Pudgy McCabe", who shot someone in a card game. After hearing McCabe's story, with the addition that the gun was a Derringer, Butler proclaims that McCabe has never killed anyone in his life. McCabe later tries to find Sears and Hollander to try to settle on a price, but upon learning that they have left the area, he visits lawyer Clement Samuels to try to obtain legal protection from Harrison Shaughnessy. Although the lawyer agrees to help McCabe bust the mining company's monopoly on the area, McCabe returns to town convinced that he must face the bounty hunters on his own. When a lethal confrontation becomes inevitable, McCabe arms himself and hides in the chapel during the early morning hours, but is evicted by the armed pastor, who is then shot by the assassin Butler in a case of mistaken identity. A broken lantern starts a fire in the church and the townspeople rush to help extinguish it. McCabe continues his evasion, shooting Breed and Kid from hidden positions, killing them; unfortunately, one wounds McCabe as he falls. As the townsfolk mobilize to fight the chapel fire, McCabe plays cat-and-mouse with the last gunman, Butler. McCabe is shot in the back and mortally wounded, but feigns death and kills Butler with a Derringer when he approaches to confirm McCabe's identity. As the townspeople celebrate extinguishing the fire, McCabe dies alone in the snow, while Mrs. Miller lies sedated in an opium den.

PSYCHO (Alfred Hitchcock, 1960)

During a Friday afternoon tryst in a Phoenix hotel, real estate secretary Marion Crane and her boyfriend Sam Loomis discuss their inability to get married because of Sam's debts. Marion returns to work, steals a cash payment of $40,000 entrusted to her for deposit, and sets off to drive to Sam's home in Fairvale, California. She pulls over and falls asleep and is woken up by a police officer the next morning. Her anxious behavior makes him question her motives and asks to see her license but lets her go. Marion hurriedly trades her car with Arizona plates for a car with California plates. It's all for nothing as the police officer had been watching the whole time. Marion stops for the night at the Bates Motel, located off the main highway, and hides the stolen money inside a newspaper. Proprietor Norman Bates descends from a large house overlooking the motel, registers Marion under an alias, and invites her to dine with him. After Norman returns to his house, Marion overhears Norman arguing with his mother about Marion's presence. Norman returns with a light meal and apologizes for his mother's outbursts. Norman discusses his hobby as a taxidermist, his mother's "illness", and how people have a "private trap" they want to escape. Marion decides to drive back to Phoenix in the morning to return the stolen money. As Marion showers, a shadowy figure appears and stabs her to death. Norman cleans up the murder scene, putting Marion's body, belongings, and the hidden cash in her car, and sinks it in a swamp. Marion's sister Lila arrives in Fairvale a week later, tells Sam about the theft, and demands to know her whereabouts. He denies knowing anything about her disappearance. A private investigator named Arbogast approaches them, saying that he has been hired to retrieve the money. Arbogast stops at the Bates Motel and questions Norman, whose nervous behavior and inconsistent answers arouse his suspicion. He examines the guest register and discovers from her handwriting that Marion spent a night in the motel. When Arbogast learns that Marion had spoken to Norman's mother, Arbogast asks to speak to her, but Norman refuses to allow it. Arbogast updates Sam and Lila about his search and promises to meet them within an hour at Sam's home. After he enters the Bates home to search for Norman's mother, the shadowy figure emerges from the bedroom and stabs him to death. When Sam and Lila don't hear back from Arbogast, Sam goes to the motel to look for him to no avail. He sees a figure in the house who he assumes is Norman's mother. Lila and Sam alert the local sheriff, who tells them Norman's mother died in a murder-suicide, by strychnine poisoning, ten years earlier. The sheriff suggests Arbogast lied to Sam and Lila so he could pursue Marion and the money. Convinced that something happened to Arbogast, Lila and Sam drive to the motel. Sam distracts Norman in the office while Lila sneaks into the house. Suspicious, Norman becomes agitated and knocks Sam unconscious. As he goes to the house, Lila hides in the fruit cellar, where she discovers the mother's mummified body. She screams in horror, and Norman, wearing women's clothes and a wig, enters the cellar and tries to stab her. Sam appears and subdues him. At the police station, a psychiatrist explains that Norman killed his mother and her lover ten years earlier out of jealousy. Unable to bear the guilt, Norman mummified his mother's corpse and began treating it as if she was still alive. He recreated his mother as an alternate personality, as jealous and possessive towards Norman as he felt about his mother. When Norman is attracted to a woman, "Mother" takes over. He had killed two other missing young women before Marion and Arbogast. The psychiatrist concludes that "Mother" has now submerged Norman's personality. Norman sits in a jail cell and hears his mother saying the murders were all his doing. Marion's car is retrieved from the swamp.

LA GRANDE ILLUSION (Jean Renoir, 1937)

During the First World War, two French aviators of the Service Aéronautique, the aristocratic Captain de Boëldieu and the working-class Lieutenant Maréchal, set out to investigate a blurred spot found on reconnaissance photographs. They are shot down by German flying ace and aristocrat, Rittmeister von Rauffenstein, and both are taken prisoner by the Imperial German Army. Upon returning to the aerodrome, von Rauffenstein sends a subordinate to find out if the aviators are officers and, if so, to invite them to lunch. During the meal, Rauffenstein and Boëldieu discover they have mutual acquaintances—a depiction of the familiarity, if not solidarity, within the upper classes that crosses national boundaries. Boëldieu and Maréchal are then taken to a prisoner-of-war camp, where they meet a colorful group of French prisoners and stage a vaudeville-type performance just after the Germans have taken Fort Douaumont in the epic Battle of Verdun. During the performance, word arrives that the French have recaptured the fort. Maréchal interrupts the show, and the French prisoners spontaneously burst into "La Marseillaise". As a result of the disruption, Maréchal is placed in solitary confinement, where he suffers badly from lack of human contact and hunger; the fort changes hands once more while he is imprisoned. Boëldieu and Maréchal also help their fellow prisoners to finish digging an escape tunnel. However, just before it is completed, everyone is transferred to other camps. Because of the language barrier, Maréchal is unable to pass word of the tunnel to an incoming British prisoner. Boëldieu and Maréchal are moved from camp to camp, finally arriving in Wintersborn, a mountain fortress prison commanded by Rauffenstein, who has been so badly injured in battle that he has been given a posting away from the front, much to his regret. Rauffenstein tells them that Wintersborn is escape-proof. At Wintersborn, the pair are reunited with a fellow prisoner, Rosenthal, from the original camp. Rosenthal is a wealthy French Jew, a naturalized French citizen who generously shares the food parcels he receives. Boëldieu comes up with an idea, after carefully observing how the German guards respond to an emergency. He volunteers to distract the guards for the few minutes needed for Maréchal and Rosenthal to escape. After a commotion staged by the prisoners, the guards are ordered to assemble them in the fortress courtyard. During the roll call, it is discovered that Boëldieu is missing. He makes his presence known high up in the fortress, drawing the German guards away in pursuit. Maréchal and Rosenthal take the opportunity to lower themselves from a window by a homemade rope and flee. Rauffenstein stops the guards from firing at Boëldieu and pleads with his friend to give himself up. Boëldieu refuses, and Rauffenstein reluctantly shoots him with his pistol, aiming for his legs but fatally hitting him in the stomach. Nursed in his final moments by a grieving Rauffenstein, Boëldieu laments that the whole purpose of the nobility and their usefulness to both French and German culture is being destroyed by the war. He expresses pity for von Rauffenstein, who will have to find a new purpose in the postwar world. Maréchal and Rosenthal journey across the German countryside, trying to reach neutral Switzerland. Rosenthal injures his foot, slowing Maréchal down. They quarrel and part, but then Maréchal returns to help his comrade. They take refuge in the modest farmhouse of a German woman, Elsa, who lost her husband at Verdun, along with three brothers, at battles which, with quiet irony, she describes as "our greatest victories." She takes them in and does not betray them to a passing army patrol. She and Maréchal fall in love, despite not speaking each other's language, but he and Rosenthal eventually leave from a sense of duty after Rosenthal recovers from his injury. Maréchal declares he will come back to Elsa and her young daughter, Lotte, if he survives the war. A German patrol sights the two fugitives crossing a snow-covered valley. They fire a few rounds, but then their commanding officer orders them to stop, saying the pair have crossed into Switzerland. Château du Haut-Kœnigsbourg, which appears in the film.

APOCALYPSE NOW (Francis Ford Coppola, 1979)

During the Vietnam War, U.S. Army Special Forces Colonel Walter E. Kurtz has apparently gone insane and is waging a brutal guerrilla war against NVA and PLAF forces without permission from his commanders. At an outpost in Cambodia, he commands American and Montagnard troops, who see him as a demigod. Burnt-out MACV-SOG operative Captain Benjamin L. Willard is summoned to I Field Force headquarters in Nha Trang. He is ordered to "terminate Kurtz's command... with extreme prejudice". Ambivalent, Willard joins a U.S. Navy river patrol boat (PBR) commanded by Chief Petty Officer Phillips, with crewmen Lance, "Chef" and "Mr. Clean" to quietly navigate up the Nùng River to Kurtz's outpost. Before reaching the coastal mouth of the Nùng, they rendezvous with the 1st Squadron, 9th Cavalry Regiment—a helicopter-borne air assault unit commanded by Lieutenant Colonel Bill Kilgore—to discuss safe passage. Kilgore is initially uncooperative as he has not received word about their mission through normal channels, but he becomes more engaged after discovering that Lance is a well-known surfer. The commander is an avid surfer himself and agrees to escort them through the Nùng's Viet Cong-held coastal mouth. The helicopter squadron, playing "Ride of the Valkyries" on loudspeakers, raids at dawn with a napalm strike. Before Kilgore can lure Lance out to surf on the newly conquered beach, Willard gathers the sailors to the PBR to continue their mission. Tension arises as Willard believes himself in command of the PBR, while the Chief prioritizes routine patrol objectives over Willard's. Slowly making their way upriver, Willard partially reveals his mission to the Chief to assuage his concerns about why his mission should proceed. As Willard studies Kurtz's dossier, he is struck by the mid-career sacrifice Kurtz made by leaving a prestigious Pentagon assignment to join Special Forces, with no prospect of advancing beyond the rank of colonel. At a remote U.S. Army outpost, Willard and Lance seek information on what is upriver and receive a dispatch bag containing official and personal mail. Unable to find any commanding officer, Willard orders the Chief to continue. Willard learns via the dispatch that another MACV-SOG operative, Special Forces Captain Richard Colby, was sent on an earlier mission identical to Willard's and has since joined Kurtz.[a] Lance activates a smoke grenade while under the influence of LSD, attracting enemy fire, and Mr. Clean is killed. Further upriver, Chief is impaled by a spear thrown by Montagnards and attempts to kill Willard by impaling him on the spear point protruding from his own chest before Willard subdues him. Willard reveals his mission to Chef, who is now in charge of the PBR. The PBR arrives at Kurtz's outpost, an abandoned Angkor Empire temple compound teeming with Montagnards and strewn with corpses and severed heads. Willard, Chef and Lance are greeted by an American photojournalist, who praises Kurtz's genius. They encounter a near-catatonic Colby. Willard sets out with Lance to find Kurtz, leaving Chef with orders to call in an airstrike on the outpost if the two do not return. In the camp, Willard is bound and brought before Kurtz in a darkened temple. Kurtz places Chef's severed head onto Willard's lap, preventing the airstrike. Willard is released and Kurtz lectures him on his theories of war, praising the ruthlessness of the Viet Cong. Kurtz discusses his family and asks that Willard tell his son about him after his death. That night, as the Montagnards ceremonially slaughter a water buffalo, Willard attacks Kurtz with a machete. Mortally wounded, Kurtz utters "... The horror ... the horror ..." and dies. All in the compound see Willard departing, carrying a collection of Kurtz's writings, and bow down to him. Willard gathers Lance, boards the PBR, and heads back down river, away from the now leaderless Montagnards.

A STAR IS BORN (George Cukor, 1954)

Esther Blodgett is a talented aspiring singer with a band, and Norman Maine is a former matinée idol whose career is beginning to decline. When he arrives intoxicated at a function at the Shrine Auditorium, studio publicist Matt Libby attempts to keep him offstage. After an angry exchange, Norman rushes away and bursts onto a stage where an orchestra is performing. Blodgett takes him by the hand and pretends he is part of the act, thereby turning a potentially embarrassing and disruptive moment into an opportunity for the audience to greet Norman with applause. Realizing that Esther has saved him from public humiliation, Norman thanks her and draws a heart on the wall with her lipstick. He invites her to dinner, and later watches her perform in an after-hours club. He recognizes her impressive talent, urges her to follow her dream, and convinces her she can break into movies. Esther is surprised that someone of Norman's stature sees something special in her. He offers her a screen test and advises her to "sleep on it", promising to call her the next day. Esther tells Danny McGuire, her bandmate, that she is quitting their upcoming gig to pursue movies in L.A. Thinking she is crazy, he tries to talk her out of it, but Esther is determined. Norman is called away early in the morning to filming and then falls ill. He attempts to get a message to Esther but cannot remember her address. When she does not hear from him, she suspects he was insincere. Not disheartened, she takes jobs as a carhop and TV commercial singer to make ends meet, convinced she can make it with or without Norman. Norman tries to find Esther, who has had to move from her apartment. Then he hears her singing on a television commercial and tracks her down. Studio head Oliver Niles believes Esther is just a passing fancy for the actor, but casts her in a small film role. The studio arbitrarily changes her name to Vicki Lester, which she finds out when she tries to pick up her paycheck. When Norman finally gets Niles to hear "Vicki" sing, he is impressed and she is cast in an important musical film, making her a huge success. Her relationship with Norman flourishes, and they wed. As Vicki's career continues to flourish, Norman finds himself unemployed and going downhill fast—an alcoholic in a tough new film business with no tolerance for alcoholics. Norman arrives, late and drunk, in the middle of Vicki's Oscar acceptance speech. He interrupts her speech, rambling and pacing back and forth in front of her. While begging for work from the assembled and embarrassed Hollywood community, he accidentally strikes Vicki in the face. Vicki continues working and tells Oliver that Norman has entered a sanitarium. After supporting him for so long, she worries about the effect of Norman's alcoholism on her, while acknowledging that he is trying very hard to overcome his addiction. Niles is amenable to offering Norman work, a gesture for which Vicki is grateful, thinking this may be just the boost her husband needs. At the racetrack, Norman runs into Libby, who taunts him and accuses him of living on Vicki's earnings. The resulting fight prompts Norman to go on a drinking binge; he is eventually arrested for being drunk and disorderly and receives ninety days in the city jail. Vicki bails him out and brings him home, where they are joined by Niles. Norman goes to bed but overhears Vicki telling Niles she will give up her career to take care of him. He also hears Oliver say that Norman ruined his own career with his drinking. Finally realizing what he has done to himself, Vicki, his career, and the people around him, Norman leaves his bed, tells Vicki cheerfully that he is going to go for a swim, walks into the ocean, and drowns himself. At Norman's funeral, Vicki is mobbed by reporters and insensitive fans. Despondent, Vicki becomes a recluse and refuses to see anyone. Finally, her old bandmate Danny convinces her she needs to attend a charity function because she constitutes the only good work Norman did and which he died trying to save. At the Shrine Auditorium, she notices the heart Norman drew on the wall on the night they met and for a moment seems to lose her composure. When she arrives on stage, the master of ceremonies tells her the event is being broadcast worldwide, and asks her to say a few words to her fans. She says, "Hello, everybody. This is Mrs. Norman Maine", which prompts the crowd into a standing ovation.

AIRPLANE! (Jim Abrahams, David Zucker & Jerry Zucker, 1980)

Ex-fighter pilot Ted Striker is a traumatized war veteran turned taxi driver. Because of his pathological fear of flying and subsequent "drinking problem"—he splashes beverages anywhere but into his mouth—Ted has been unable to hold a responsible job. His wartime girlfriend, Elaine Dickinson, now a flight attendant, breaks off her relationship with him before boarding her rostered flight from Los Angeles to Chicago. Ted abandons his taxi and buys a ticket on the same flight to try to win her back. Once on board, however, Elaine continues to reject him, causing Ted to accidentally drive several other passengers to suicide as he sadly reminisces. After the in-flight meal is served, the entire flight crew and several passengers fall ill. Passenger Dr. Rumack discovers that the fish served during meal service has caused food poisoning. With the flight crew incapacitated, Elaine contacts the Chicago control tower for help and is instructed by tower supervisor Steve McCroskey to activate the plane's autopilot, a large inflatable dummy pilot dubbed "Otto", which will get them to Chicago but not be able to land the plane. Elaine and Rumack convince Ted to take the controls. When Steve learns Ted is piloting, he contacts Ted's former commanding officer, Rex Kramer—now serving as a commercial pilot—to help talk Ted through the landing procedure. Ted becomes uneasy when Kramer starts giving orders and he briefly breaks down amid more wartime flashbacks. Elaine and Rumack both bolster Ted's confidence and he manages to once again take the controls. As the plane nears Chicago, the weather worsens, complicating the landing. With Elaine's help as co-pilot and Rex's guidance from the tower, Ted is able to land the plane safely, despite the landing gear shearing off, and the passengers suffer only minor injuries. Rescue vehicles arrive to help unload the plane. Impressed by Ted's display of courage, Elaine embraces and kisses him, rekindling their relationship. The two watch as "Otto" takes control of the plane, inflates a female companion, and takes off.

FANTASIA (Various Directors, 1940)

Fantasia opens with live action scenes of members of an orchestra gathering against a blue background and tuning their instruments in half-light, half-shadow. Master of ceremonies Deems Taylor enters the stage (also in half-light, half-shadow) and introduces the program. Toccata and Fugue in D Minor by Johann Sebastian Bach. Live-action shots of the orchestra illuminated in blue and gold, backed by superimposed shadows, fade into abstract patterns. Animated lines, shapes and cloud formations reflect the sound and rhythms of the music. The Nutcracker Suite by Pyotr Ilyich Tchaikovsky. Selections from the 1892 ballet suite underscore scenes depicting the changing of the seasons from summer to autumn to winter. A variety of dances are presented with fairies, fish, flowers, mushrooms, and leaves, including "Dance of the Sugar Plum Fairy", "Chinese Dance", "Arabian Dance", "Russian Dance", "Dance of the Flutes" and "Waltz of the Flowers". The Sorcerer's Apprentice by Paul Dukas. Based on Goethe's 1797 poem "Der Zauberlehrling". Mickey Mouse, the young apprentice of the sorcerer Yen Sid, attempts some of his master's magic tricks but does not know how to control them. Rite of Spring by Igor Stravinsky. A visual history of the Earth's beginnings is depicted to selected sections of the ballet score. The sequence progresses from the planet's formation to the first living creatures, followed by the reign and extinction of the dinosaurs. Intermission/Meet the Soundtrack: The orchestra musicians depart and the Fantasia title card is revealed. After the intermission there is a brief jam session of jazz music led by a clarinettist as the orchestra members return. Then a humorously stylized demonstration of how sound is rendered on film is shown. An animated sound track "character", initially a straight white line, changes into different shapes and colors based on the sounds played. The Pastoral Symphony by Ludwig van Beethoven. A mythical Greco-Roman world of colorful centaurs and "centaurettes", cupids, fauns and other figures from classical mythology is portrayed to Beethoven's music. A gathering for a festival to honor Bacchus, the god of wine, is interrupted by Zeus, who creates a storm and directs Vulcan to forge lightning bolts for him to throw at the attendees. Dance of the Hours by Amilcare Ponchielli. A comic ballet in four sections: Madame Upanova and her ostriches (Morning); Hyacinth Hippo and her servants (Afternoon); Elephanchine and her bubble-blowing elephant troupe (Evening); and Ben Ali Gator and his troop of alligators (Night). The finale finds all of the characters dancing together until their palace collapses. Night on Bald Mountain by Modest Mussorgsky and Ave Maria by Franz Schubert. At midnight the devil Chernabog awakes and summons evil spirits and restless souls from their graves to Bald Mountain. The spirits dance and fly through the air until driven back by the sound of an Angelus bell as night fades into dawn. A chorus is heard singing Ave Maria as a line of robed monks is depicted walking with lighted torches through a forest and into the ruins of a cathedral.

THE QUIET MAN (John Ford, 1952)

Father Peter Lonergan narrates the return of Sean Thorton from Pittsburgh to his birthplace of Inisfree.[a] Upon arrival at the train station Thorton is met by local matchmaker-cum-bookmaker Michaeleen Óge Flynn, [b] As they travel to Inisfree, Thorton is smitten by a red-headed shepherdess. Thornton also meets the local Protestant minister and former boxer, Reverend Cyril "Snuffy" Playfair, who vaguely recognizes Thornton, who changes the subject before Playfair can recollect further. Thorton meets with the wealthy Widow Tillane to make an offer on the old cottage and grounds. Bullying Squire "Red" Will Danaher also wants to buy the property, but mostly as a means to get closer to the widow whom he fancies. Piqued by Danaher's bluster and assumptions she sells to Thornton at a much reduced price. Danaher then retaliates by refusing consent for Sean to court his sister, Mary Kate, the previously seen shepherdess. A conspiracy forms with Father Lonergan, the Rev. Playfair and others who trick Squire Danaher into believing that Thornton is now pursuing the Widow Tillane, and that she has put Danaher off because she doesn't want to marry while Mary Kate lives in his house. At a local horse race Thornton grabs the Widow's bonnet to win, further confirming suspicions. There, the Reverend Playfair suddenly remembers where he knows the name Sean Thorton, but agrees, at Thorton's request, to keep it a secret. Danaher allows the courtship and Sean and Mary Kate are married. In his bluster Danaher assumes the Widow will now eagerly marry and announces exactly that. The Widow spurns him for his presumption. Furious upon discovering the deceit Danaher refuses to give Mary Kate her dowry or her furniture. Sean professes no interest in the dowry; Mary Kate, however is incensed, insisting the dowry must be received to validate their marriage; they are estranged. Danaher is persuaded to release Mary Kate's furniture, but withholds the £350 of fortune. Mary Kate insinuates Sean is a coward for not confronting her brother. Sean goes privately to the Rev. Playfair who reveals that boxer Sean "Trooper Thorn" Thornton accidentally killed an opponent. Thornton expresses fear at his own ferocity when fighting. Mary Kate confesses (in Irish Gaelic) her part to Father Lonergan, who berates her for selfishness. Mary Kate and Sean partially reconcile and, for the first time, share the bedroom. Sean awakes the next morning and learns from Michaeleen that Mary Kate has gone to take a train to Dublin. Sean races on horseback to the train station. Followed by a growing crowd of villagers, Sean pulls Mary Kate off the train and proceeds to walk her, forcefully, to Danahers farm. There, Sean confronts Will and demands the money. When Will refuses, Sean throws Mary Kate back at her brother, declaring "no fortune, no marriage". The ultimatum shocks both Mary Kate and Will, who finally pays the £350. Sean approaches the boiler, and Mary Kate opens the door that he may throw in the money. She then proudly leaves for home, but a humiliated Will takes a swing at Sean, only to be knocked down by Sean's defensive counter-punch. A donnybrook ensues: a long semi-comic fistfight between Sean and Will. This much-anticipated match attracts more and more spectators as it continues for miles across the landscape. The fighters finally pause for a drink inside Cohan's Bar, where they admit a mutual respect. As they argue over who will pay for the drinks, Will tosses a brew into Sean's face. Sean punches Will, sending him crashing through the bar doors to lie unconscious, ending the fight. Later, the reconciled and inebriated brothers-in-law, singing and staggering arm-in-arm, go back to the cottage for the supper Mary Kate has prepared. The next day, a humbled Will and the Widow Tillane begin their own chaperoned courtship, riding side by side in a horse-drawn jaunting car driven by Michaeleen. Sean, Mary Kate, and the villagers wave to them as they pass, before Sean and Mary Kate playfully run back to the cottage.

GREED (Erich von Stroheim, 1924)

In 1908, John McTeague works in a gold mine in Placer County, California. A traveling dentist calling himself Dr. "Painless" Potter visits the town, and McTeague's mother begs Potter to take her son on as an apprentice. Potter agrees and McTeague eventually becomes a dentist, practicing on Polk Street in San Francisco. Marcus Schouler brings Trina Sieppe, his cousin and intended fiancée, into McTeague's office for dental work. Schouler and McTeague are friends and McTeague gladly agrees to examine Trina. As they wait for an opening, she buys a lottery ticket. McTeague becomes enamored with Trina and begs Schouler for permission to court her. After seeing McTeague's conviction, Schouler agrees. Trina eventually agrees to marry McTeague and shortly afterwards her lottery ticket wins her $5,000.[a] Schouler bitterly claims that the money should have been his, causing a rift between him and McTeague. After McTeague and Trina wed, they continue to live in their small apartment with Trina refusing to spend her $5,000. Trina and McTeague have a relationship that moves from romance to tragedy. Schouler leaves San Francisco to become a cattle rancher. Before he goes, he secretly, in order to ruin his former friend, reports McTeague for practicing dentistry without a license. McTeague is ordered to shut down his practice or face jail. Even though she has saved over $200 in addition to the original $5,000 from the lottery ticket, Trina is still unwilling to spend her money. Money becomes increasingly scarce, with the couple forced to sell their possessions. McTeague finally snaps and bites Trina's fingers in a fit of rage. Later, he goes fishing to earn money, taking Trina's savings (now totaling $450). Trina's bitten fingers become infected and have to be amputated. To earn money she becomes a janitor at a children's school. She withdraws the $5,000 from the bank to keep it close to her, eventually spreading it on her bed so she can sleep on it. McTeague then returns, having spent the money he took, and asks Trina for more. The following day McTeague confronts Trina at the school. After a heated argument McTeague beats Trina to death and steals her $5,000. Now an outlaw, McTeague returns to Placer County and teams up with a prospector named Cribbens. Headed towards Death Valley, they find a large quantity of quartz and plan to become millionaires. Before they can begin mining, McTeague senses danger and flees into Death Valley with a single horse, the remaining money and one water jug. Several marshals pursue him, joined by Schouler. Schouler wants to catch McTeague personally and rides into Death Valley alone. The oppressive heat slows McTeague's progress. Schouler's progress is also beginning to wane when he spies McTeague and moves in to arrest him. After a confrontation, McTeague's horse bolts and Schouler shoots it, puncturing the water container. The water spills onto the desert floor. The pair fight one last time, with McTeague proving the victor; however, Schouler has handcuffed himself to McTeague. The film ends with McTeague left in the desert with no horse and no water, handcuffed to a corpse and unable to reach the remaining money. Sub-plots[edit] Von Stroheim's original edit contained two main sub-plots that were later cut. The point of these sub-plots was to contrast two possible outcomes of Trina and McTeague's life together. The first depicted the lives of the junkman Zerkow and Maria Miranda Macapa, the young Mexican woman who collects junk for Zerkow and sold Trina the lottery ticket. Maria often talks about her imaginary solid gold dining set with Zerkow, who becomes obsessed by it. Eventually, believing she has riches hidden away, Zerkow marries her. He often asks about it, but she gives a different answer each time he mentions it. Zerkow does not believe her and becomes obsessed with prying the truth from her. He murders her and, after having lost his mind, leaps into San Francisco Bay. The second sub-plot depicts the lives of Charles W. Grannis and Miss Anastasia Baker. Grannis and Baker are two elderly boarders who share adjoining rooms in the apartment complex where Trina and McTeague live. Throughout their time at the apartment complex, they have not met. They both sit close to their adjoining wall and listen to the other for company, so they know almost everything about each other. They finally meet and cannot hide their long-time feelings for each other. When they reveal their love, Grannis admits he has $5,000, making him just as rich as Trina. But this makes little difference to them. Eventually, they marry and a door connects their rooms.

SANS SOLEIL (Chris Marker, 1983)

Expanding the documentary genre, this experimental essay-film is a composition of thoughts, images and scenes, mainly from Japan and Guinea-Bissau, "two extreme poles of survival".[1] Some other scenes were filmed in Cape Verde, Iceland, Paris, and San Francisco. A female narrator reads from letters supposedly sent to her by the (fictitious) cameraman Sandor Krasna. Sans Soleil is often labeled a documentary, travelogue, or essay-film. Despite the film's modest use of fictional content, it should not be confused with a mockumentary. The fictional content derived from the juxtaposition of narrative and image adds meaning to the film along with occasional nondescript movement between locations and lack of character-based narrative. Chris Marker has said: "On a more matter-of-fact level, I could tell you that the film intended to be, and is nothing more than, a home movie. I really think that my main talent has been to find people to pay for my home movies. Were I born rich, I guess I would have made more or less the same films, at least the traveling kind, but nobody would have heard of them except my friends and visitors."[2]The title Sans Soleil is from the song cycle Sunless by Modest Mussorgsky "although only a brief fragment of Mussorgsky's cycle of songs (a brief passage of 'Sur le fleuve', the last of the songs in the cycle, which concerns itself with death) is heard in the course of the film."[3] The original French version of Sans Soleil opens with the following quotation by Jean Racine from the second preface to his tragedy Bajazet (1672): "L'éloignement des pays répare en quelque sorte la trop grande proximité des temps."(The distance between the countries compensates somewhat for the excessive closeness of the times.) Marker replaced this quote with the following one by T. S. Eliot from Ash Wednesday (1930) for the English version of the film: "Because I know that time is always timeAnd place is always and only place"...(And what is actual is actual only for one timeAnd only for one place.)[4]

FANNY AND ALEXANDER (Ingmar Bergman, 1982)

In 1907, young Alexander, his sister Fanny, and their well-to-do family, the Ekdahls, live in a Swedish town, running a moderately profitable theatre. At Christmastime, the Ekdahls hold a Nativity play and later a large Christmas party. The siblings' parents, Emilie and Oscar, are happily married until Oscar suddenly dies from a stroke. Shortly thereafter, Emilie marries Edvard Vergérus, the local bishop and a widower, and moves into his home where he lives with his mother, sister, aunt, and maids. Emilie initially expects that she will be able to carry over the free, joyful qualities of her previous home into the marriage, but realises that Edvard's harsh authoritarian policies are unshakable. The relationship between the bishop and Alexander is especially cold, as Alexander invents stories, for which Edvard punishes him severely. As a result, Emilie asks for a divorce, which Edvard will not consent to; though she may leave the marriage, this would be legally considered desertion, placing the children in his custody. Meanwhile, the rest of the Ekdahl family has begun to worry about their condition, and Emilie secretly visits her former mother-in-law, Helena, revealing she is pregnant. During Emilie's absence, Edvard confines the children to their bedroom, ostensibly for their safety. There, Alexander shares a story, claiming he was visited by the ghosts of the Vergérus family, who revealed the bishop was responsible for their deaths. The maid Justina reports the story to Edvard, who responds with corporal punishment. After Emilie returns, the Ekdahl family friend Isak Jacobi helps smuggle the children from the house. They live temporarily with Isak and his nephews in their store. Emilie's former brothers-in-law confront Edvard to negotiate a divorce, using the children, the bishop's debts, and the threat of a public scandal for leverage, but Edvard is unmoved. Emilie, now in the later stages of her pregnancy, refuses to restore the children to Edvard's home. Emilie allows Edvard to drink a large dosage of her bromide sedative. She explains to him, as the medication takes effect, that she intends to flee the home as he sleeps. He threatens to follow her family and ruin their lives, but falls unconscious. After she escapes, Edvard's dying Aunt Elsa accidentally overturns a gas lamp, setting her bedclothes, nightgown, and hair on fire. Engulfed in flames, she runs through the house, seeking Edvard's help, but he, too, is set aflame. Although partially incapacitated by the sedative, he is able to disentangle himself from Aunt Elsa, but is badly burned and dies shortly thereafter. Alexander had fantasised about his stepfather's death while living with Isak and his nephews Aron and Ismael Retzinsky. The mysterious Ismael explains that fantasy can become true as he dreams it. The Ekdahl family reunites for the christening celebration of Emilie's and the late bishop's daughter as well as the extra-marital daughter of Alexander's uncle, Gustav Adolf, and the family maid, Maj. Alexander encounters the ghost of the bishop who knocks him to the floor, and tells him that he will never be free. Emilie, having inherited the theatre, hands Helena a copy of August Strindberg's play A Dream Play to read and tells her that they should perform it together onstage. Initially scoffing at the idea and declaring Strindberg a "misogynist," Helena takes to the idea and begins reading it to a sleeping Alexander.

KES (Ken Loach, 1969)

Fifteen-year-old Billy Casper, growing up in the late 1960s in a poor South Yorkshire community dominated by the local coal mining industry, has little hope in life. He is picked on, both at home by his physically and verbally abusive older half-brother, Jud (who works at the mine), and at school by his schoolmates and abusive teachers. Although he insists that his earlier petty criminal behaviour is behind him, he occasionally steals eggs and milk from milk floats. He has difficulty paying attention in school and is often provoked into tussles with classmates. Billy's father left the family some time ago, and his mother refers to him at one point, while somberly speaking to her friends about her children and their chances in life, as a "hopeless case". Billy is due to leave school soon, as an "Easter Leaver", without taking any public examinations (and therefore no qualifications); Jud states early in the film that he expects Billy will shortly be joining him at work in the mine, whereas Billy says that he does not know what job he will do, but also says nothing would make him work in the mine. One day, Billy takes a kestrel from a nest on a farm. His interest in learning falconry prompts him to steal a book on the subject from a secondhand book shop, as he is underage and needs - but lies about the reasons he cannot obtain - adult authorisation for a borrower's card from the public library. As the relationship between Billy and "Kes", the kestrel, improves during the training, so does Billy's outlook and horizons. For the first time in the film, Billy receives praise, from his English teacher after delivering an impromptu talk about training Kes. Jud leaves money and instructions for Billy to place a bet on two horses, but, after consulting a bettor who tells him the horses are unlikely to win, Billy spends the money on fish and chips and intends to purchase meat for his bird (instead the butcher gives him scrap meat free of charge). However, the horses do win. Outraged at losing a payout of more than £10, Jud takes revenge by killing Billy's kestrel. Grief-stricken, Billy retrieves the bird's broken body from the waste bin and shows it to Jud and his mother. After an argument, Billy buries the bird on the hillside overlooking the field where he had flown.

THIS IS SPINAL TAP (Rob Reiner, 1984)

Filmmaker Martin "Marty" Di Bergi is creating a documentary that follows the English rock group Spinal Tap on their 1982 United States concert tour to promote their new album Smell the Glove. The band comprises childhood friends David St. Hubbins and Nigel Tufnel on vocals and guitar, bassist Derek Smalls, keyboardist Viv Savage, and drummer Mick Shrimpton. They were known as the Originals until they found out another band had that name, so they changed their name to the New Originals. They had a hit as the Thamesmen with their single "Gimme Some Money", before changing their name to Spinal Tap and achieving a minor hit with the flower power anthem "Listen to the Flower People", and finally transitioning to heavy metal. Several of their previous drummers died in strange circumstances: spontaneous human combustion (Peter "James" Bond), a "bizarre gardening accident" (John "Stumpy" Pepys), and choking on (someone else's) vomit (Eric "Stumpy Joe" Childs). Segments of Marty's film show David and Nigel to be competent but dimwitted and immature musicians. At one point, Nigel shows Marty a custom-made amplifier that has volume knobs that go up to eleven, believing this would make their output louder. Nigel's amplifier dials that go up to eleven; this scene is the origin of the term up to eleven. Several of the band's tour shows are canceled because of low ticket sales, and major retailers refuse to sell Smell the Glove because of its sexist cover art. Tensions arise between the band and their manager, Ian Faith. David's girlfriend Jeanine, a manipulative yoga and astrology devotee, joins the group on tour and participates in band meetings, influencing their costumes and stage presentation. The band's distributor opts to release Smell the Glove with an entirely black cover without consulting the band. Despite their manager convincing the band that it would have a similar appeal to the Beatles' White Album, the album fails to draw crowds to autograph sessions with the band. Nigel suggests staging a lavish show and asks Ian to order a Stonehenge megalith. However, Nigel, rushing a sketch on a napkin, mislabels its dimensions; the resulting prop is only 18 inches high rather than 18 feet, making the group a laughingstock. The group blames Ian, and when David suggests Jeanine should co-manage the group, Ian quits. The tour continues, rescheduled into smaller and smaller venues. Nigel is marginalized by Jeanine and David. At a gig at a United States Air Force base, Nigel is upset by an equipment malfunction and quits mid-performance. At their next gig, in an amphitheater at an amusement park, the band finds their repertoire is severely limited without Nigel and improvise an experimental "Jazz Odyssey", which is poorly received. At the last show of the tour, David and Derek consider exploring old side projects, such as a musical theatre production about Jack the Ripper. Before they go on stage, Nigel arrives (to a very cool reception from David and Jeanine) to tell them that their song "Sex Farm" has become a major hit in Japan, and that Ian wants to arrange a tour there. In the wings, as Nigel watches the band performing, David relents and invites him to join the band onstage, giving huge delight to everyone but a furious Jeanine. With Ian reinstalled as manager, Spinal Tap performs a series of sold-out shows in Japan, despite the loss of drummer Mick, who explodes onstage.

RAN (Akira Kurosawa, 1985)

First Narrative[edit] Keng (Banlop Lomnoi) is a soldier assigned to a post in a small city in rural Thailand. The troops' main duties is to investigate the mysterious slaying of cattle at local farms. While in the field one day, Keng briefly meets a villager named Tong (Sakda Kaewbuadee). Later, Keng sees Tong riding in a truck, they talk some more, and a romantic friendship soon develops between them. Keng helps Tong with his job at an ice factory. One night while driving an ice delivery truck, they find a sick dog on the side of the road. They bring it to a veterinarian, but learn that it has cancer. In turn, Tong signs a form to allow it to undergo chemotherapy. Later, the two of them go to a movie theater. While sitting together the next day, they're approached by an older woman who tells a story on how two poor farmers lost an opportunity to become rich. In the story, a young monk instructed for them to collect rocks from a nearby pond. After doing so, the rocks turned to silver and gold. When they greedily went back for more though, the silver and gold bars they had previously obtained turned into frogs. Keng, Tong, and the older woman spend the rest of the afternoon together, walking through a cave and meeting the woman's friends. One night, Keng and Tong ride around the city on a motorcycle. While stopped on the side of the road, they share a brief romantic moment, only for Tong to abruptly wander off into the dark. Keng and his troops leave the village the next day. Some time later, Keng overhears some people saying a monster keeps killing their cattle. Second Narrative[edit] A soldier (Lomnoi) is sent alone into the woods to kill the spirit of a tiger shaman (Kaewbuadee). He follows its pawprints and waits by a tree once it gets dark. When he wakes up the next morning, he finds himself face to face with the shaman in human form. He chases and fights it, but is knocked unconscious and pushed down a steep slope. When he wakes up, he still has his gun, but his radio and backpack are destroyed. A monkey tells the soldier he needs to kill the shaman; otherwise, the soldier will be devoured and will enter the shaman's ghost world. When it gets dark again, the soldier hears a sound in the distance and fires his gun in that direction, only to discover he killed a cow. The cow's spirit then rises from its body and walks towards a glowing tree. As the soldier walks away, the shaman (now in the form of a tiger) follows him. The soldier loses his gun and begins walking on his hands and knees until he comes across the tiger shaman in a tree. After staring at each other for a while, the soldier says "I give you my spirit, my flesh, and my memories" as a graphical image of the tiger shaman absorbing him is shown. The soldier continues looking up at the tiger shaman as the wind picks up.

TROPICAL MALADY (Apichatpong Weerasethakul, 2004)

First Narrative[edit] Keng (Banlop Lomnoi) is a soldier assigned to a post in a small city in rural Thailand. The troops' main duties is to investigate the mysterious slaying of cattle at local farms. While in the field one day, Keng briefly meets a villager named Tong (Sakda Kaewbuadee). Later, Keng sees Tong riding in a truck, they talk some more, and a romantic friendship soon develops between them. Keng helps Tong with his job at an ice factory. One night while driving an ice delivery truck, they find a sick dog on the side of the road. They bring it to a veterinarian, but learn that it has cancer. In turn, Tong signs a form to allow it to undergo chemotherapy. Later, the two of them go to a movie theater. While sitting together the next day, they're approached by an older woman who tells a story on how two poor farmers lost an opportunity to become rich. In the story, a young monk instructed for them to collect rocks from a nearby pond. After doing so, the rocks turned to silver and gold. When they greedily went back for more though, the silver and gold bars they had previously obtained turned into frogs. Keng, Tong, and the older woman spend the rest of the afternoon together, walking through a cave and meeting the woman's friends. One night, Keng and Tong ride around the city on a motorcycle. While stopped on the side of the road, they share a brief romantic moment, only for Tong to abruptly wander off into the dark. Keng and his troops leave the village the next day. Some time later, Keng overhears some people saying a monster keeps killing their cattle. Second Narrative[edit] A soldier (Lomnoi) is sent alone into the woods to kill the spirit of a tiger shaman (Kaewbuadee). He follows its pawprints and waits by a tree once it gets dark. When he wakes up the next morning, he finds himself face to face with the shaman in human form. He chases and fights it, but is knocked unconscious and pushed down a steep slope. When he wakes up, he still has his gun, but his radio and backpack are destroyed. A monkey tells the soldier he needs to kill the shaman; otherwise, the soldier will be devoured and will enter the shaman's ghost world. When it gets dark again, the soldier hears a sound in the distance and fires his gun in that direction, only to discover he killed a cow. The cow's spirit then rises from its body and walks towards a glowing tree. As the soldier walks away, the shaman (now in the form of a tiger) follows him. The soldier loses his gun and begins walking on his hands and knees until he comes across the tiger shaman in a tree. After staring at each other for a while, the soldier says "I give you my spirit, my flesh, and my memories" as a graphical image of the tiger shaman absorbing him is shown. The soldier continues looking up at the tiger shaman as the wind picks up.

CHUNGKING EXPRESS (Wong Kar-wai, 1994)

First story[edit] Taiwan-raised cop He Qiwu is dumped by his girlfriend named May on 1 April. To verify her earnestness in breaking up with him, Qiwu chooses to wait for a month.[10] Every day he buys a tin of pineapples with an expiration date of 1 May, because May enjoyed pineapples and 1 May is his birthday. Meanwhile, a woman in a blonde wig tries to survive in the drug underworld after a smuggling operation goes sour. On 1 May, Qiwu approaches the woman in the blonde wig at the Bottoms Up Club. However, she is exhausted and falls asleep in a hotel room, leaving him to watch old films and order food. He shines her shoes before he leaves her sleeping on the bed. She leaves in the morning and shoots the drug baron who set her up. Qiwu goes jogging and receives a message from her on his pager wishing him a happy birthday. He visits his usual snack food store where he collides with a new staff member, Faye. Second story[edit] Another police officer is also dealing with a breakup—with a flight attendant. Faye secretly falls for him. One day, the flight attendant visits the store and waits for the man. She learns he is on his day off and leaves a letter for him with the snack bar owner containing a set of keys to the officer's apartment. Faye tells him of the letter, but he delays reading it and asks the snack bar to keep it for him. Faye uses the keys to repeatedly enter the man's apartment to clean and redecorate. Gradually, her ploys help him cheer up. He finds Faye coming to his apartment and realises that she likes him; he arranges a date at a restaurant named California. Faye does not arrive, and the snack bar owner, her cousin, goes to the restaurant to tell him that Faye has left for the US state of California. She leaves him a boarding pass drawn on a paper napkin dated one year later. Faye, now a flight attendant, returns to Hong Kong. She finds that the man has bought the snack bar and is converting it into a restaurant. He asks her to stay for the grand opening, and asks her to send him a postcard if she leaves. As Faye is about to leave, he presents the boarding pass, wrinkled and water-stained, and she writes him a new one. She asks him where he wants the destination to be, to which he replies, "Wherever you will take me".

THE LONG FAREWELL (Kira Muratova, 1971)

For a long time, Yevgenia Vasilyevna was busy only with her son Sasha. With the advent of free time, as her son grew older, Nikolai Sergeyevich began to look after her. In the summer, the son went to visit his father. After his return, he began to change. His mother understands that her son wants to leave, but she does not have enough wisdom to behave properly in the current situation.

LISTEN TO BRITAIN (Humphrey Jennings & Stewart McAllister, 1942)

For the American release, Listen to Britain opens with a foreword spoken by Leonard Brockington added by a "nervous civil servant" as there were fears that Americans might be confused by the ambiguity of the film's message. The forewords begins with the famous Listening to Britain poem: I am a Canadian. I have been listening to Britain. I have heard the sound of her life by day and by night. Many years ago, a great American, speaking of Britain, said that in the storm of battle and conflict, she had a secret rigour and a pulse like a cannon. In the great sound picture that is here presented, you too will hear that heart beating. For blended together in one great symphony is the music of Britain at war. The evening hymn of the lark, the roar of the Spitfires, the dancers in the great ballroom at Blackpool, the clank of machinery and shunting trains. Soldiers of Canada holding in memory, in proud memory, their home on the range. The BBC sending truth on its journey around the world. The trumpet call of freedom, the war song of a great people. The first sure notes of the march of victory, as you, and I, listen to Britain. Before the introduction was added, Edgar Anstey in The Spectator thought the film would be a complete disaster.[4] Writing in the Documentary News Letter, Anstey complained: By the time Humphrey Jennings has done with it, it has become the rarest bit of fiddling since the days of Nero. It will be a disaster if this film is sent overseas. One shudders to imagine the effect upon our allies should they learn that an official British film-making unit can find the time these days to contemplate the current sights and sounds of Britain... However, Anstey admitted that Listen To Britain "had enormous influence overseas" and the film went down very well with audiences.[4] Helen de Mouilpied (later the wife of Denis Forman), the deputy head of non-theatrical distribution for the Ministry of Information, recalled: All sorts of audiences felt it to be a distillation and also a magnification of their own experiences on the home front. This was especially true of factory audiences. I remember one show in a factory in the Midlands where about 800 workers clapped and stamped approval. Roger Manvell then working as the Films Officer in the South West and later North-West of the country, claimed he always tried to show the film as the: ...poetic and emotional life they gave the programmes as a whole. I do not exaggerate when I say that members of audiences under the emotional strains of war ... frequently wept as a result of Jennings' direct appeal to the rich cultural heritage of Britain.... The success of Listen To Britain in influencing British public opinion vindicates Jennings and shows "boundary lines in the debate over social utility and aesthetic pleasure are not as distinct as they may seem." For the American release, Listen to Britain opens with a foreword spoken by Leonard Brockington added by a "nervous civil servant" as there were fears that Americans might be confused by the ambiguity of the film's message. The forewords begins with the famous Listening to Britain poem: I am a Canadian. I have been listening to Britain. I have heard the sound of her life by day and by night. Many years ago, a great American, speaking of Britain, said that in the storm of battle and conflict, she had a secret rigour and a pulse like a cannon. In the great sound picture that is here presented, you too will hear that heart beating. For blended together in one great symphony is the music of Britain at war. The evening hymn of the lark, the roar of the Spitfires, the dancers in the great ballroom at Blackpool, the clank of machinery and shunting trains. Soldiers of Canada holding in memory, in proud memory, their home on the range. The BBC sending truth on its journey around the world. The trumpet call of freedom, the war song of a great people. The first sure notes of the march of victory, as you, and I, listen to Britain. Before the introduction was added, Edgar Anstey in The Spectator thought the film would be a complete disaster. Writing in the Documentary News Letter, Anstey complained: By the time Humphrey Jennings has done with it, it has become the rarest bit of fiddling since the days of Nero. It will be a disaster if this film is sent overseas. One shudders to imagine the effect upon our allies should they learn that an official British film-making unit can find the time these days to contemplate the current sights and sounds of Britain... However, Anstey admitted that Listen To Britain "had enormous influence overseas" and the film went down very well with audiences.[4] Helen de Mouilpied (later the wife of Denis Forman), the deputy head of non-theatrical distribution for the Ministry of Information, recalled: All sorts of audiences felt it to be a distillation and also a magnification of their own experiences on the home front. This was especially true of factory audiences. I remember one show in a factory in the Midlands where about 800 workers clapped and stamped approval. Roger Manvell then working as the Films Officer in the South West and later North-West of the country, claimed he always tried to show the film as the: ...poetic and emotional life they gave the programmes as a whole. I do not exaggerate when I say that members of audiences under the emotional strains of war ... frequently wept as a result of Jennings' direct appeal to the rich cultural heritage of Britain.... The success of Listen To Britain in influencing British public opinion vindicates Jennings and shows "boundary lines in the debate over social utility and aesthetic pleasure are not as distinct as they may seem."

THE SCARLET EMPRESS (Josef von Sternberg, 1934)

Princess Sophia Frederica is the innocent daughter of a minor East Prussian prince and an ambitious mother. She is brought to Russia by Count Alexei at the behest of Empress Elizabeth to marry her simple-minded nephew Grand Duke Peter. The overbearing Elizabeth renames her Catherine and repeatedly demands that the new bride produce a male heir to the throne, which is impossible because Peter never comes near her after their wedding night. He spends all of his time with his mistress, his toy soldiers or his real soldiers. Alexei pursues Catherine relentlessly but without success. At dinner, he tries to pass a note to Catherine, begging for a few precious seconds with her, but Elizabeth intercepts it. She warns Catherine that Alexei is a womanizing heartbreaker. That night, Elizabeth sends Catherine down a secret stairway to open the door for a lover, warning her to not let him see her. Catherine sees that the man is Alexei and, shaken and angry, hurls a miniature that he had given her out the window. She enters the garden to retrieve it and is stopped by a handsome lieutenant who is on guard duty for the first time. When Catherine tells him whom she is, he initially does not believe her and begins to flirt with her. She suddenly throws her arms around his neck, they kiss and she surrenders to him. Months later, all of Russia, with the exception of Peter, celebrates as Catherine gives birth to a son. Elizabeth promptly takes charge of the boy's care and sends the exhausted Catherine a magnificent necklace. Elizabeth is in failing health. Peter plans to remove Catherine from court, perhaps by killing her. However, Catherine has become self-assured, sensual and cynical. She has devoted herself to learning how things work in Russia and is utterly unwilling to be preempted. The archimandrite is worried by the thought of Peter on the throne and offers Catherine his help, but she demurs, saying that she has "weapons that are far more powerful than any political machine" he can mobilize. Although the nation has been commanded to be in deep prayer for the dying Elizabeth Catherine is playing blind man's bluff with her ladies in waiting; she is lavishing kisses on the assembled soldiers when the bells toll for Elizabeth's passing. Peter taunts Elizabeth's corpse as she lies in state, saying that it is now his turn to rule. An intertitle reads: "And while his Imperial Majesty Peter the III terrorized Russia, Catherine coolly added the army to her list of conquests." Catherine inspects the officers of Alexei's pet regiment, singling out Lieutenant Dmitri (the man from the garden) by borrowing one of Alexei's decorations to reward him for bravery. Orlov, Dmitri's captain, also attracts her attention. That evening, Catherine, who had refused to see Alexi privately since she admitted him to Elizabeth's quarters, finally permits him to visit her. When they are alone in her bedroom, she toys with him before sending him down the secret stairway to open the door for the man waiting there. He sees Captain Orlov and understands that his chance for a relationship with Catherine has passed. At dinner, the archimandrite collects alms for the poor. Catherine strips her arm of bracelets, Orlov donates a handful of gems, Alexei gives a purse full of coins, the chancellor adds a single coin and Peter's mistress puts a scrap of food on the plate. Peter slaps the archimandrite's face and then proposes a toast to his mistress, but Catherine refuses to participate. Peter calls her a fool and she leaves with Orlov. Peter strips Orlov of his rank and dismisses him from military service to the throne. He then places Catherine under house arrest, obscuring it by issuing a public proclamation that she is dying. In the middle of the night Orlov sneaks into Catherine's room and wakes her. In uniform, she flees the palace with her loyal troops. Alexei sees her depart and murmurs: "Exit Peter the Third, enter Catherine the Second." She rides through the night, gathering men to her cause. In the cathedral, the archimandrite blesses Catherine and she rings the bell that signals the start of the coup. Peter awakens and opens his door, finding Orlov standing guard. Orlov tells him "There is no emperor. There is only an empress." and kills him. Catherine and her troops ride up the stairs in the palace, thundering into the throne room as pealing bells are joined by the 1812 Overture. Her rule is secure.

THE THIN BLUE LINE (Errol Morris, 1988)

Prior to the conception of The Thin Blue Line, Morris originally planned to film a documentary about prosecution psychiatrist Dr. James Grigson, known as Doctor Death,who testified in more than 100 trials that resulted in death sentences. As an expert psychiatrist, Dr. Grigson made a name for himself by giving testimony in capital cases for the prosecution. Under the law in Texas, the death penalty can only be issued if the jury is convinced that the defendant is not just guilty, but will commit violent crimes in the future if not put to death. In almost every instance, Dr. Grigson would, after examining a defendant, testify that he had found the individual in question to be an incurable sociopath, who he was "one hundred percent certain" would kill again. In pursuit of creating this idea, Morris sought and received funding for the initial project from the Public Broadcasting Service. Morris also received funding from Endowment of Public Arts. Using this grant, Morris was able to initially interview Grigson. During this meeting, Grigson suggested to Morris that his research should begin with all the inmates he had testified against in court. It was during this preliminary research that Morris met Randall Dale Adams, and learned of his case. Grigson had told the jury that Adams would be an ongoing menace if kept alive, but Morris, after meeting Adams, became skeptical that he committed the crime. Dr. Grigson's interviews often lasted less than an hour and were arbitrary at best, often asking inmates to copy doodles. Morris later chose to refocus his research efforts into an investigation on the circumstances of Randall Dale Adams' conviction. Grigson does not appear once in the final cut of the film. Synopsis The film presents a series of interviews about the investigation of the shooting of Dallas police officer Robert Wood and a re-enactment of the crime based on the testimony and recollections of Adams, Harris (the actual murderer), the judge presiding over the case (Donald J. Metcalfe), and several witnesses (including Emily Miller and R. L. Miller), as well as detectives (including Gus Rose, Jackie Johnson, and Marshall Touchton). Two attorneys (Edith James and Dennis White) who represented Adams at the trial where he was convicted also appear; they suggest that Adams was charged with the crime despite the evidence against Harris because Harris was a juvenile at the time, whereas Adams, as an adult, could be sentenced to death under Texas law. The prosecutor (Douglas D. Mulder) does not appear in the film. The film's title comes from prosecutor Doug Mulder's phrase during his closing argument that the police are the "thin blue line" separating society from "anarchy". This is a re-working of a line from Rudyard Kipling's poem "Tommy" in which he describes British soldiers (nicknamed "Tommy Atkins") as the "thin red line", from the color of their uniforms and their formation.

GOODFELLAS (Martin Scorsese, 1990)

In 1955, youngster Henry Hill becomes enamored by the criminal life and Mafia presence in his working class Italian-American neighborhood in Brooklyn. He begins working for local caporegime Paulie Cicero and his associates: Jimmy "the Gent" Conway, an Irish-American truck hijacker and gangster, and Tommy DeVito, a fellow juvenile delinquent. Henry begins as a fence for Jimmy, gradually working his way up to more serious crimes. The three associates spend most of their nights in the 1960s at the Copacabana nightclub carousing with women. Henry starts dating Karen Friedman, a Jewish woman who is initially troubled by Henry's criminal activities. Seduced by Henry's glamorous lifestyle, she marries him despite her parents' disapproval. In 1970, Billy Batts, a made man in the Gambino crime family recently released from prison, patronizes Tommy at a nightclub owned by Henry; Tommy and Jimmy beat, stab and fatally shoot Billy. The unsanctioned murder of a made man invites retribution; realizing this, Jimmy, Henry, and Tommy bury the body in upstate New York. Six months later, however, Jimmy learns that the burial site is slated for development, prompting them to exhume and relocate the decomposing corpse. Later, in 1970, Henry witnesses Tommy murder Spider, an errand boy, after exchanging insults with him during a card game. Karen discovers Henry has a mistress and threatens him at gunpoint. Henry moves in with his mistress, but Paulie insists that he should return to Karen after collecting a debt from a gambler in Tampa with Jimmy. Upon returning, Jimmy and Henry are arrested after being turned in by the gambler's sister, an FBI typist, and they receive ten-year prison sentences. To support his family on the outside, Henry has Karen smuggle in drugs and sells them to a fellow inmate from Pittsburgh. In 1978, Henry is paroled and expands his cocaine business with Jimmy and Tommy against Paulie's orders. Jimmy organizes a crew to raid the Lufthansa vault at John F. Kennedy International Airport, stealing six million dollars in cash and jewelry. After some members purchase expensive items against Jimmy's orders and the getaway truck is found by police, he has most of the crew (except Tommy and Henry) murdered. In 1979, Tommy is deceived into believing he is to become a made man and is murdered after walking into the room of the ceremony—partly as retribution for murdering Batts. By 1980, Henry develops a drug habit and becomes a paranoid wreck. He sets up another drug deal with his Pittsburgh associates, but he is arrested by narcotics agents and incarcerated. After bailing him out, Karen reveals that she flushed $60,000 worth of cocaine down the toilet to prevent FBI agents from finding it during their raid, leaving them penniless. Feeling betrayed by Henry's drug dealing, Paulie gives him $3,200 and ends their association; which also meant that Henry had lost Paulie's protection from other gangsters. Karen goes to Jimmy for help, but eventually flees upon suspecting a trap to murder her. Henry later meets Jimmy at a diner and is asked to travel on a hit assignment, but the novelty of such a request makes Henry suspicious. Realizing that Jimmy also plans to have him killed, Henry finally decides to become an informant and enroll, with his family, into the witness protection program. Henry gives sufficient testimony and evidence in court to have Paulie and Jimmy convicted, and moves to a nondescript neighborhood in accordance with the witness protection program. Henry describes his unhappiness in leaving his exciting and turbulent gangster life, now being condemned to live the rest of his life as a boring, average "schnook".

NORTH BY NORTHWEST (Alfred Hitchcock, 1959)

In 1958 New York City, a waiter pages "George Kaplan" at the Plaza Hotel's Oak Room restaurant after a pair of thugs presumably requests him to do so. As advertising executive Roger Thornhill summons the same waiter, he is mistaken for Kaplan, kidnapped by the thugs and brought to the estate of Lester Townsend. He is interrogated by spy Phillip Vandamm, a Cold War enemy of the United States, who poses as Townsend to Thornhill. Vandamm arranges Thornhill's death in a staged drunk-driving crash. Thornhill survives, but fails to convince his mother and the police about the happenings, even after revisiting Townsend's estate. During the visit, Thornhill learns Townsend is a United Nations diplomat. Thornhill and his mother go to Kaplan's empty hotel room at the Plaza. After Thornhill answers Kaplan's phone, the thugs, who had called the number from the lobby, begin their pursuit. Thornhill heads to the U.N. General Assembly Building to meet Townsend, who is a different man from Vandamm. One of the pursuing thugs throws a knife, killing Townsend, who collapses in Thornhill's arms. Thornhill is photographed as he grabs the knife, giving the appearance that he is the murderer; he then flees, attempting to find the real Kaplan. An unnamed government intelligence agency realizes that Thornhill has been mistaken for Kaplan, but decides against rescuing him for fear of compromising their operation: Kaplan is a non-existent agent they created to confuse and distract Vandamm. Thornhill boards the 20th Century Limited train to Chicago, where he meets Eve Kendall, who hides him from the police. The two establish a relationship—on Kendall's part because she is secretly working with Vandamm-and she tells Thornhill that she has arranged a meeting with Kaplan at an isolated rural bus stop. Thornhill waits there, but is attacked by a crop duster plane. After trying to hide in a cornfield, he steps in front of a speeding tank truck; it brakes, and the airplane crashes into it, allowing him to escape. Thornhill reaches Kaplan's hotel in Chicago and learns that Kaplan had checked out before the time when Kendall claimed she talked to him. Thornhill goes to her room and confronts her, but she leaves. He tracks her to an art auction, where he finds Vandamm purchasing a Mexican Purépecha statue. At the Mount Rushmore visitor center Vandamm leaves his thugs to deal with Thornhill; in order to escape, Thornhill disrupts the auction until police are called to remove him. He says he is the fugitive murderer, but they release him to the government agency's chief, "The Professor", who reveals that Kaplan was invented to distract Vandamm from the real government agent: Eve Kendall. Thornhill agrees to help maintain her cover. At the Mount Rushmore visitor center, Thornhill—now willingly playing the role of Kaplan—negotiates Vandamm's turnover of Kendall to be arrested. Kendall then shoots Thornhill, seemingly fatally, and flees; it turns out her gun was loaded with blanks. Afterward, the Professor arranges for Thornhill and Kendall to meet. Thornhill learns Kendall must depart on a plane with Vandamm and his henchman Leonard. He tries to dissuade her from going, but is knocked unconscious and locked in a hospital room. Thornhill escapes the Professor's custody and goes to Vandamm's house to rescue Kendall. At the house, Thornhill overhears that the sculpture holds microfilm and that Leonard has discovered the blanks remaining in Kendall's gun. Vandamm indicates that he will kill Kendall by throwing her from the plane. Thornhill manages to warn her with a surreptitious note. Vandamm, Leonard, and Kendall head for the plane. As Vandamm boards, Kendall takes the sculpture and runs to the pursuing Thornhill. They flee to the top of Mount Rushmore. As they climb down the mountain they are pursued by Vandamm's thugs, including Leonard, who is fatally shot by a park ranger. Vandamm is taken into custody by the Professor. Meanwhile, Kendall is hanging on to the mountain by her fingertips. Thornhill reaches down to pull her up, at which point the scene cuts to him pulling her—now the new Mrs. Thornhill—into an upper berth on a train, which enters a tunnel.

RAGING BULL (Martin Scorsese, 1980)

In 1964, an aging, overweight Italian American, Jake LaMotta, rehearses a poem in his dressing room. In 1941, LaMotta is in a major boxing match against Jimmy Reeves, where he suffered his first loss. Jake's brother Joey discusses a potential shot for the middleweight title with one of his Mafia connections, Salvy Batts, but he repeatedly refuses the mafia's help. Some time thereafter, Jake spots a fifteen-year-old girl named Vickie at an open-air swimming pool in his Bronx neighborhood. He eventually pursues a relationship with her, although he is already married. In 1943, Jake defeats Sugar Ray Robinson, and has a rematch three weeks later. Despite Jake dominating Robinson during the bout, the judges surprisingly rule in favor of Robinson, who Joey feels won only because he was enlisting into the Army the following week. By 1945, Jake marries Vickie. Jake constantly worries about Vickie having feelings for other men, particularly when she nonchalantly comments about Tony Janiro, Jake's opponent in his next fight. His jealousy is evident when he brutally defeats Janiro in front of Tommy Como, the local mob boss, and Vickie. As Joey discusses the victory with journalists at the Copacabana, he is distracted by seeing Vickie approach a table with Salvy and his crew. Joey speaks with Vickie, who says she is giving up on his brother. Blaming Salvy, Joey viciously attacks him in a fight that spills outside of the club. Como later orders them to apologize, and has Joey tell Jake that if he wants a chance at the championship title, which Como controls, he will have to take a dive first. In a match against Billy Fox, after briefly pummeling his opponent, Jake does not even bother to put up a fight. He is suspended shortly thereafter from the board on suspicion of throwing the fight, though he realizes the error of his judgment when it is too late. He is eventually reinstated, and in 1949, wins the middleweight championship title against Marcel Cerdan. A year later, Jake asks Joey if he fought with Salvy at the Copacabana because of Vickie. Jake then asks if Joey had an affair with her; Joey refuses to answer, insults Jake, and leaves. Jake directly asks Vickie about the affair, and when she hides from him in the bathroom, he breaks down the door, pushing her to sarcastically state that she had sex with the entire neighborhood (including Joey, Salvy and Tommy) out of exhaustion, exclaiming "What do you want me to say!?" Jake, followed by Vickie, angrily walks to Joey's house and assaults him in front of his wife Lenora and their children before knocking Vickie unconscious. After defending his championship belt in a grueling fifteen-round bout against Laurent Dauthuille in 1950, he calls his brother after the fight, but when Joey assumes Salvy is on the other end and starts insulting and cursing at him, Jake silently hangs up. Estranged from Joey, Jake's career begins to decline slowly and he eventually loses his title to Sugar Ray Robinson in their final encounter in 1951. By 1956, Jake and his family have moved to Miami. After he stays out all night at his new nightclub there, Vickie tells him she wants a divorce (which she has been planning since his retirement) as well as full custody of their kids. She also threatens to call the police if he comes anywhere near them. He is later arrested for introducing under-age girls to men in his club. He unsuccessfully attempts to bribe his way out of his criminal case using the jewels from his championship belt instead of selling the belt itself. In 1957, he goes to jail, sorrowfully questioning his misfortune and crying in despair. Upon returning to New York City in 1958, he encounters Joey, who forgives him but is elusive. Again in 1964, Jake now recites the "I coulda been a contender" scene from the 1954 film On the Waterfront, where Terry Malloy complains that his brother should have been there for him but is also keen enough to give himself some slack. After a stagehand informs him that the auditorium where he is about to perform is crowded, Jake starts to chant "I'm the boss" while shadowboxing.

LA DOLCE VITA (Federico Fellini, 1960)

Prologue[edit] 1st Day Sequence: A helicopter transports a statue of Christ over an ancient Roman aqueduct outside Rome while a second, Marcello Rubini's news helicopter, follows it into the city. The news helicopter is momentarily sidetracked by a group of bikini-clad women sunbathing on the rooftop of a high-rise apartment building. Hovering above, Marcello uses gestures to elicit phone numbers from them but fails in his attempt. He then shrugs and continues following the statue to Saint Peter's Square. Episode 1[edit] 1st Night Sequence: Marcello meets Maddalena by chance in an exclusive nightclub. A beautiful and wealthy heiress, Maddalena is tired of Rome, while Marcello finds it suits him. They make love in the bedroom of a prostitute whom they had given a ride home in Maddalena's Cadillac. 1st Dawn Sequence: Marcello returns to his apartment to find that his fiancée, Emma, has overdosed. On the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room. While waiting frantically for her recovery, however, he tries to make a phone call to Maddalena. Episode 2[edit] 2nd Day Sequence: That day, he goes on assignment for the arrival of Sylvia, a famous Swedish-American actress, at Ciampino airport where she is met by a horde of news reporters. During Sylvia's press conference, Marcello calls home to ensure Emma has taken her medication while reassuring her that he is not alone with Sylvia. After the film star confidently replies to the barrage of journalists' questions, her boyfriend Robert enters the room late and drunk. Marcello casually recommends to Sylvia's producer that she be taken on a tour of St Peter's. Inside St Peter's dome, a news reporter complains that Sylvia is "an elevator" because none of them can match her energetic climb up the numerous flights of stairs. Inspired, Marcello maneuvers forward to be alone with her when they finally reach the balcony overlooking St. Peter's Square. 2nd Night Sequence: That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla. Sylvia's natural sensuality triggers raucous partying while Robert, her bored fiancé, draws caricatures and reads a newspaper. His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues. Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome, where they wade into the Trevi Fountain. 2nd Dawn Sequence: Like a magic spell that has suddenly been broken, dawn arrives at the very moment Sylvia playfully "anoints" Marcello's head with fountain water. They drive back to Sylvia's hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello, who takes it in stride. Episode 3[edit] 3rd Day Sequence: Marcello meets Steiner, his distinguished intellectual friend, inside a church. Steiner shows off his book of Sanskrit grammar. The two go up to play the organ, offering up a jazz piece for the watching priest before playing Bach. Episode 4[edit] 3rd Day Sequence: Late afternoon, Marcello, his photographer friend Paparazzo, and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children. Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site. 3rd Night Sequence: That night, the event is broadcast over Italian radio and television. Emma prays to the Virgin Mary to be given sole possession of Marcello's heart. Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna. 3rd Dawn Sequence: The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee. Episode 3b[edit] 4th Night Sequence: One evening, Marcello and Emma attend a gathering at Steiner's luxurious home, where they are introduced to a group of intellectuals who recite poetry, strum the guitar, offer philosophical ideas, and listen to sounds of nature recorded on tape. The British poet Iris Tree, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: "Stay free, available, like me. Never get married. Never choose. Even in love, it's better to be chosen." Emma appears enchanted with Steiner's home and children, telling Marcello that one day he will have a home like Steiner's, but he turns away moodily. Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life. Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day. Intermezzo[edit] 5th Day Sequence: Marcello spends the afternoon working on his novel at a seaside restaurant, where he meets Paola, a young waitress from Perugia playing Perez Prado's cha-cha "Patricia" on the jukebox and then humming its tune. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings. Episode 5[edit] 5th Night Sequence: Marcello meets his father visiting Rome on the Via Veneto. With Paparazzo, they go to the "Cha-Cha" Club, where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends (he had promised to get her picture in the paper but failed to do it). Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home. Fanny invites Marcello's father back to her flat, and two other dancers invite the two younger men to go with them. Marcello leaves the others when they get to the dancers' neighborhood. Fanny comes out of her house, upset that Marcello's father has become ill. 5th Dawn Sequence: Marcello's father has suffered what seems to be a mild heart attack. Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train to Cesena. He leaves Marcello forlorn, on the street, watching the taxi leave. Episode 6[edit] 6th Night Sequence: Marcello, Nico, and other friends meet on the Via Veneto and are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome. There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again. The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber. As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane, a British artist and heiress. 6th Dawn Sequence: Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession. Episode 3c[edit] 7th Night Sequence: Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by professing her love and tries to get out of the car; Marcello pleads with her not to get out. Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love. He now wants her to get out of the car, but she refuses. With some violence (a bite from her and a slap from him), he throws her out of the car and drives off, leaving her alone on a deserted road at night. Hours later, Emma hears his car returning as she picks flowers by the roadside. She gets into the car with neither of them saying a word. 7th Dawn Sequence: Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. He rushes to the Steiners' apartment and learns that Steiner has killed his two children and himself. 8th Day Sequence: After waiting with the police for Steiner's wife to return home, he meets her outside to break the terrible news while the paparazzi swarm around her snapping pictures. Episode 7[edit] 8th Night Sequence: An unspecified amount of time later, an older Marcello—now with gray in his hair—and a group of partygoers break into a Fregene beach house owned by Riccardo, a friend of Marcello's. Many of the men are homosexual. Marcello is mocked for abandoning literature and reporting to become a publicity agent. To celebrate her recent divorce from Riccardo, Nadia performs a striptease to Perez Prado's cha-cha "Patricia". Riccardo shows up at the house and tells the partiers to leave. The drunken Marcello attempts to provoke the other partygoers into an orgy. However, their inebriation causes the party to descend into mayhem, with Marcello riding a young woman crawling on her hands and knees and throwing pillow feathers around the room. Epilogue[edit] 8th Dawn Sequence: The party proceeds to the beach at dawn where they find a modern-day leviathan, a bloated, sea ray-like creature, caught in the fishermen's nets.[a] In his stupor, Marcello comments on how its eyes stare even in death. 9th Day Sequence: Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary, but the words they exchange are lost on the wind, drowned out by the crashing waves. He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach. In a long final close-up, Paola waves to Marcello and then stands watching him with an enigmatic smile.

THE GLEANERS & I (Agnès Varda, 2000)

For the film, Varda traveled throughout rural and urban France to document various types of gleaners who, whether due to necessity or for artistic or ethical reasons, gather crops left in the field after the harvest or food and objects that have been thrown out. She also included some of the people on the peripheries of the gleaning culture. There are interviews with, among others, a Michelin 2-star chef who gleans and a wealthy restaurant owner whose ancestors were gleaners; the owners of a few vineyards, among whom are psychoanalyst Jean Laplanche and the great-grandson of physiologist and chronophotographer Étienne-Jules Marey; artists that incorporate recycled materials into their work, including Louis Pons, who explains that junk is a "cluster of possibilities"; lawyers who discuss the French laws regarding gleaning versus abandoned property; and an urban gleaner named Alain, who has a master's degree and teaches French to immigrants. Two of the most notable symbols from the film are the numerous heart-shaped potatoes Varda finds in a field and a clock without hands she finds on the street. In order to find the subjects, Varda claimed her method was to ask all the people she knew to talk to everyone—"the peasants, the owners, the farmers, the fruit growers—about our film. I said to my assistant, 'Call everybody you know.'" Referring to these subjects, Varda stated that "The more I met them, the more I could see I had nothing to make as a statement. They make the statement; they explain the subject better than anybody."[4]

MR. HULOT'S HOLIDAY (Jacques Tati, 1953)

For the most part, in Les Vacances, spoken dialogue is limited to the role of background sounds. Combined with frequent long shots of scenes with multiple characters, Tati believed that the results would tightly focus audience attention on the comical nature of humanity when interacting as a group, as well as his own meticulously choreographed visual gags. However, the film is by no means a 'silent' comedy, as it uses natural and man-made sounds not only for comic effect but also for character development. The film was made in both French and English language versions. While Tati had experimented with color film in Jour de fête, Les Vacances is black and white. The jazz score, mostly variations on the theme "Quel temps fait-il à Paris",[3] was written by Alain Romans. Les Vacances was shot in the town of Saint-Marc-sur-Mer, which lies on the edge of the industrial port of Saint-Nazaire, in the Département of Loire-Atlantique. Tati had fallen in love with the beguiling coastline while staying in nearby Port Charlotte[4] with his friends, M. and Mme Lemoine, before the war and resolved to return one day to make a film there. Tati and his crew turned up in the summer of 1951, "took over the town and then presented it to the world as the quintessence of French middle-class life as it rediscovered its rituals in the aftermath of the Second World War."[5] "Neither too big nor too small, [St Marc fit the bill] - a sheltered inlet, with a graceful curve of sand, it boasted a hotel on the beach on which the main action could be centred. Beach huts, windbreaks, fishing boats and outcrops of rock helped to complete a picture which was all the more idyllic for being so unspectacular." A bronze statue of Monsieur Hulot was later erected and overlooks the beach where the film was made.

THE TREE OF WOODEN CLOGS (Ermanno Olmi, 1978)

Four peasant families working farms for the same landlord scrape out a meagre existence in 1898 in the countryside around Bergamo. Over the course of a year, children are born, crops planted, animals slaughtered, and couples married; stories and prayers are exchanged in the families' shared farmhouse. Undercurrents of revolution are seen by the peasants but largely ignored, as a communist rabble-rouser gives a speech at a local fair and when a newlywed couple visit the big city of Milan and witness the arrest of political prisoners. When spring comes, the father from one of the four families cuts down a tree to make wooden clogs (an alder, aimed in the title because its wood was typically used for this kind of handwork[2][3]) that his son can walk to school, but the landowner discovers this, and the family is forced off their land by the incensed landlord. The remaining families watch them go, praying for them and recognising their own fragile existence.

ZERO FOR CONDUCT (Jean Vigo, 1933)

Four rebellious young boys at a repressive French boarding school plot and execute a revolt against their teachers and take over the school.

LE BONHEUR (Agnès Varda, 1965)

François, a handsome young joiner working for his uncle, lives a comfortable and happy life married to his pretty wife Thérèse, a dressmaker, with whom he has two delightful children, Pierrot and Gisou. The family love outings to the woods outside of town. Although finding abundant happiness in his life and indisputably loving his wife and children, François falls for Émilie, an attractive single woman working in the post office, who has a flat of her own and looks very like Thérèse. Picnicking in the woods one weekend, Thérèse asks François why he seems so particularly happy of late. He explains that all his existing happiness with her and the children is not changed in any way but has been increased by the new happiness he has found with Émilie. Initially, she is upset at the revelation, but then accepts it, saying her world is his happiness. Putting the children to sleep under a tree, Thérèse encourages François to make love to her. He falls asleep afterwards and, waking up, finds Thérèse gone. Searching desperately, he finds her body that anglers have retrieved from the lake. After a spell in the country, where relatives are looking after the children, François returns to work and looks up Émilie. Soon she is living in his house, looking after him and the children. The family are all very happy together and love to go on outings to the woods outside of town. He has once again found abundant happiness in his life, indisputably loving his new wife and children.

LOST HIGHWAY (David Lynch, 1997)

Fred Madison, a Los Angeles saxophonist, receives a message on his house intercom: "Dick Laurent is dead." He hears tires squealing and sirens blaring past his house immediately afterwards. The next morning, his wife Renee finds a VHS tape on their porch containing a video of their house. After having sex, Fred tells her he had a dream about someone resembling her being attacked. He then sees Renee's face as that of a pale old man. Another tape arrives, showing shots of them asleep in their bed. Fred and Renee call the police but the detectives offer no assistance. Fred and Renee attend a party being thrown by her friend Andy. The Mystery Man that Fred dreamed about approaches Fred, claiming to have met him before. The man then says he is at Fred's house at that very moment and answers the house phone when Fred calls him. Fred learns from Andy that the man is a friend of Dick Laurent. Terrified, Fred leaves the party with Renee. The next morning, another tape arrives and Fred watches it alone. To his horror, it shows him hovering over Renee's dismembered body. He is sentenced to death for her murder. While on death row, Fred is plagued by headaches and visions of the Mystery Man and a burning cabin in the desert. During a cell check, the prison guard finds that the man in Fred's cell is now Pete Dayton, a young auto mechanic. Although Pete is released into the care of his parents, he is followed by two detectives who are trying to uncover more about him. The next day, Pete returns to work at the garage where gangster Mr. Eddy asks him to repair his car. Mr. Eddy takes Pete for a drive, during which Pete witnesses Mr. Eddy beat down a tailgater. The next day, Mr. Eddy returns to the garage with his mistress, Alice Wakefield, and his Cadillac for Pete to repair. Later, Alice returns to the garage alone and invites Pete out for dinner. When Pete and Alice begin an affair, she fears that Mr. Eddy suspects them, and concocts a scheme to rob her friend Andy and leave town. Alice also reveals to Pete that Mr. Eddy is actually an amateur porn producer named Dick Laurent. Pete receives a phone call from Mr. Eddy and the Mystery Man, which frightens Pete so much that he decides to go along with Alice's plan. Pete ambushes Andy and accidentally kills him, before he notices a photograph depicting Alice and Renee together. Later, when the police are at the house investigating Andy's death, Alice is inexplicably missing from the photo. Pete and Alice arrive at an empty cabin in the desert and start having sex outside on the sand. Alice taunts Pete and enters the cabin while Pete turns back into Fred. Fred searches the cabin and finds only the Mystery Man, who tells him that there is no Alice, only Renee, and starts chasing him with a video camera. Fred escapes and drives to the Lost Highway Hotel, where he finds Mr. Eddy and Renee having sex. After Renee leaves, Fred kidnaps Mr. Eddy and slits his throat. The Mystery Man shoots Mr. Eddy dead and then whispers something to Fred before he disappears. Fred drives to his old house, buzzes the intercom and says, "Dick Laurent is dead." When the two detectives drive up to the house, Fred runs back to his car and drives off with the detectives in pursuit. He leads the police on a high-speed chase through the desert, begins screaming helplessly amid flashes of light, and then falls silent as headlights trace the darkened highway.

LA NOTTE (Michelangelo Antonioni, 1961)

Giovanni Pontano (Marcello Mastroianni), a distinguished writer and his beautiful wife Lidia (Jeanne Moreau), visit their dying friend Tommaso Garani (Bernhard Wicki) in a hospital in Milan. Giovanni's new book, La stagione (The Season), has just been published and Tommaso praises his friend's work. They drink champagne but Tommaso is unable to hide his severe pain. Shaken by the sight of her dying friend, Lidia leaves saying she'll visit tomorrow. Giovanni stays behind and as he leaves his friend's room, a sick and uninhibited young woman attempts to seduce him, and he goes into her room and reciprocates. They are interrupted by the nurses. Outside the hospital, Giovanni sees his wife crying but does not comfort her. As they drive off, he tells her about his "unpleasant" encounter with the sick woman and is surprised when Lidia is not fooled and dismisses the incident as his responsibility. They drive to a party celebrating Giovanni's new book, which has been well received. Giovanni signs books, while his wife looks on from a distance. After a while Lidia leaves. She wanders the streets of Milan, ending up in the neighborhood where she and Giovanni lived as newlyweds. She comes across a brutal street fight which she tries to stop and later she watches rockets being set off in a field. Back at the apartment, Giovanni finally hears from Lidia and he picks her up from the old neighborhood, which seems to have little sentimental value for him. She bathes, but he makes no move on her. Later they decide to go to a nightclub, where they watch a mesmerizing and seductive performance by a female dancer and engage in small talk. "I no longer have inspirations, only recollections", Giovanni tells his wife. Lidia suggests they leave the club and attend a swanky party thrown by a millionaire businessman. "One must do something", she says. At the party, Giovanni socializes with the guests and appears to be in his element, while Lidia walks around in a state of boredom. They spend some time with the host, Mr. Gherardini (Vincenzo Corbella). Giovanni wanders off and meets Valentina Gherardini (Monica Vitti), the host's lively, charming daughter. As they flirt, she teaches him a game she just invented, sliding a compact across the floor to try to land on certain of the floor's large checkerboard squares, and soon others gather to watch their competition. Later they see each other alone and Giovanni makes a pass at her, kissing her while Lidia looks on from the floor above. Later Mr. Gherardini meets privately with Giovanni and offers him an executive position with his company, to write the firm's history. Giovanni is reluctant to accept and leaves the offer open. With Lidia's family's wealth and his earnings from publishing, he doesn't need the money. Lidia calls the hospital and learns that Tommaso died ten minutes earlier. Overwhelmed with grief, she watches from a window as the guests enjoy themselves. Later she sits at a table opposite an empty chair. Giovanni walks over and does not sit down and Lidia does not tell him about Tommaso's death. Giovanni sees Valentina and follows after her, leaving Lidia alone. Lidia walks to the band and appears to enjoy the music. A man named Roberto (Giorgio Negro), who had been following her, approaches, asks her to dance and she accepts. A sudden shower sends the guests running for cover and some jump in the pool like children. As Lidia is about to jump in from the diving board, Roberto stops her, takes her to his car and they drive off. She enjoys Roberto's company and their conversation but as he's about to kiss her, Lidia turns away from him, saying "I'm sorry, I can't". Back at the party, Giovanni searches through the crowd and finds Valentina alone, watching the rain. She tells him she's smart enough not to break up a marriage and instructs him to spend the rest of the evening with his wife. Giovanni reveals that he's going through a "crisis" common among writers but in his case it is affecting his whole life. They return to the guests, just as Lidia and Roberto return from their drive. Giovanni seems slightly annoyed by Lidia's behavior. Valentina invites Lidia to dry off in her room, where Lidia confronts her directly about her husband. As the women chat, Giovanni overhears his wife tell Valentina that she feels like dying and putting an end to the agony of her life. Noticing Giovanni, she tells him she is not a bit jealous of his playing around with Valentina. They say goodbye to Valentina and leave the party at morning's first light, with the jazz band playing for the few couples still listening. As Giovanni and Lidia walk away across Gherardini's private golf course, they talk about the job offer that Giovanni says he'll turn down. Lidia finally tells him about Tommaso's death and recounts how Tommaso used to support her, have faith in her and urge her to study, believing she was intelligent, and offer his affections to her, but she eventually chose Giovanni because she loved him. She tells him, "I feel like dying because I no longer love you". Giovanni recognizes the failure of their marriage but tells her, "Let's try to hold onto something we're sure of. I love you. I'm sure I'm still in love with you". Lidia takes out a love letter Giovanni wrote to her just before they were married and reads it aloud. Giovanni asks who wrote it and she replies, "You did". Giovanni embraces and kisses her but she resists, saying she no longer loves him and nor does he love her. Giovanni continues to initiate sex in a bunker on the golf course, beneath a grey morning sky.

HUSBANDS (John Cassavetes, 1970)

Gus (Cassavetes), Harry (Gazzara), and Archie (Falk) are three nominally happy husbands with families in suburban New York. All are professional men, driven and successful. The three of them have known each other since their school years. They have grown up together and have now had enough time to discover that their youth is disappearing and that there is nothing they can do to preserve it. They are shaken into confronting this reality when their best friend Stuart dies suddenly and unexpectedly of a heart attack. After the funeral, they spend two days hanging out, playing basketball, riding the subway, and drinking, including an impromptu singing contest at a bar. Harry goes home, has a vicious argument with his wife, and decides to fly to London. The other two decide to go with him. They check into an expensive hotel, dress in formal clothing, and meet three young women at a gambling casino. They go back to their rooms with the women. Gus pairs off with Mary, Archie with Julie, a young Asian woman who appears not to speak English, and Harry with Pearl. However, their efforts to hook up with these women are awkward and unsuccessful. Gus and Archie return to New York, but Harry stays behind. Gus and Archie express concern about Harry and what he will do without them.

ROSEMARY'S BABY (Roman Polanski, 1968)

Guy Woodhouse, a stage actor, and his wife, Rosemary, move into the Bramford, a large Renaissance Revival apartment building in New York City. They disregard their friend Hutch's warning about the Bramford's dark past with witchcraft and murder. In the laundry room, Rosemary meets a young woman, Terry Gionoffrio, a recovering drug addict whom Minnie and Roman Castevet, the Woodhouses' elderly neighbors, have taken in. One night, Terry apparently jumps to her death from the Castevets' 7th-floor apartment, distressing the Castevets. While Guy grows close to the couple, Rosemary finds them annoying and meddlesome. Minnie gives Terry's pendant to Rosemary as a good luck charm, saying it contains "tannis root". Guy is cast in a prominent play after the lead actor inexplicably goes blind. With his acting career flourishing, Guy wants to have a baby with Rosemary. On the night that they plan to conceive, Minnie brings over individual cups of chocolate mousse for their dessert. When Rosemary complains that it has a chalky "under-taste" and does not finish it, Guy criticizes her as being ungrateful. Rosemary consumes a bit more to mollify him, then discreetly discards the rest. Soon after, she grows dizzy and passes out. In a dreamlike state, Rosemary hallucinates being raped by a demonic presence (Satan) as Guy, the Castevets, and other Bramford tenants, all nude, watch. The next morning, Guy explains the scratches covering Rosemary's body by claiming that he did not want to miss "baby night" and had sex with her while she was unconscious. He says he has since cut his nails. Rosemary becomes pregnant, with the baby due the last week of June. The elated Castevets insist that Rosemary goes to their close friend, Dr. Abraham Sapirstein, a prominent obstetrician, rather than her own physician, Dr. Hill. During her first trimester, Rosemary suffers severe abdominal pains and loses weight. By Christmastime, her gaunt appearance alarms her friends and also Hutch, who has been researching the Bramford's history. Before sharing his findings with Rosemary, he falls into a mysterious coma. Rosemary, unable to withstand the pain, insists on seeing Dr. Hill, while Guy argues against it, saying Dr. Sapirstein will be offended. As they argue, the pains suddenly stop and Rosemary feels the baby move. Three months later, Hutch's friend, Grace Cardiff, informs Rosemary that Hutch is dead. Before dying, he briefly regained consciousness and said to give Rosemary a book on witchcraft, All of Them Witches, along with the cryptic message: "The name is an anagram". Rosemary eventually deduces that Roman Castevet is an anagram for Steven Marcato, the son of a former Bramford resident and a reputed Satanist. She suspects that the Castevets and Dr. Sapirstein belong to a Satanic coven and have sinister intentions for her baby. Guy discounts this and later throws the book away, upsetting Rosemary and making her suspicious of him. Terrified, she goes to Dr. Hill for help. Assuming that she is delusional, he calls Dr. Sapirstein, who arrives with Guy to take her home, threatening if she resists, to have her sent to a mental hospital. Rosemary locks herself into the apartment, but coven members somehow infiltrate and restrain her. Dr. Sapirstein sedates an hysterical Rosemary, who goes into labor and gives birth. When she awakens, she is told the baby was stillborn. As Rosemary recovers, she notices her pumped breast milk appears to be saved instead of disposed of. She stops taking her prescribed pills, becoming less groggy. When Rosemary hears an infant crying, Guy claims new tenants with a baby have moved into an apartment one floor up. Believing her baby is alive, Rosemary discovers a hidden door in the bedroom closet leading directly into Minnie and Roman's apartment. Guy, the Castevets, Dr. Sapirstein, and other coven members are there, gathered around a bassinet draped in black with an upside down cross hanging over it. Peering inside, Rosemary is horrified and demands to know what is wrong with her baby's eyes. Roman proclaims that the child, Adrian, Satan's son and the supposed Antichrist, "has his father's eyes". He urges Rosemary to mother her child, promising her she will not have to join the coven. When Guy attempts to calm her, saying they will be rewarded and will conceive their own children, she spits in his face. After hearing the infant's cries, however, Rosemary gives in to her maternal instincts and gently rocks the cradle.

HAROLD AND MAUDE (Hal Ashby, 1971)

Harold Chasen is a young man obsessed with death. He stages elaborate fake suicides, attends funerals (usually for people that he doesn't know), and drives a hearse, all to the chagrin of his self-obsessed, wealthy socialite mother.[4] His mother sends Harold to a psychoanalyst, sets him up with blind dates, and buys him a luxury car, all schemes he subverts in his own way. Harold meets 79-year-old Maude one day while at a random stranger's funeral Mass, and discovers that they share a hobby. Harold is entranced by Maude's quirky outlook on life, which is bright and delightfully carefree in contrast with his moribund demeanor. Maude lives in a decommissioned railroad car and thinks nothing of breaking the law; she is quite skilled at stealing cars and will swiftly uproot an ailing tree on public property to re-plant it in the forest. She and Harold form a bond and Maude shows Harold the pleasures of art and music (including how to play banjo), and teaches him how to make "the most of his time on earth."[4] Meanwhile, Harold's mother is determined, against Harold's wishes, to find him a wife. One by one, Harold frightens and horrifies each of his appointed computer dates, by appearing to commit gruesome acts: self-immolation, self-mutilation, and seppuku. His mother tries enlisting him in the military by sending Harold to his uncle, who lost an arm serving under General MacArthur in the Second World War, but Harold deters the recruitment by staging a scene where Maude poses as a pacifist protester and Harold seemingly murders her out of militarist fanaticism. As Harold and Maude grow closer, their friendship blossoms into a romance. Holding her hand, Harold discovers a number tattooed on her forearm, indicating Maude survived the Nazi death camps. Harold announces that he will marry Maude, resulting in disgusted outbursts from his family, analyst, and priest. Unbeknownst to Harold, Maude has been planning to commit suicide on her eightieth birthday. Maude's birthday arrives, and Harold throws a surprise party for her. As the pair dance, Maude tells Harold that she "couldn't imagine a lovelier farewell." When Maude reveals that she has taken an overdose of sleeping pills, and will be dead by midnight, Harold rushes Maude to the hospital. After learning of Maude's death, Harold is shown speeding down a country road, and sending the car off a seaside cliff. After the crash, the final shot reveals Harold standing calmly atop the cliff, holding his banjo and wearing colorful clothing for the first time in the film. After gazing down at the wreckage, he dances away to "If You Want to Sing Out, Sing Out".

THE RIVER (Jean Renoir, 1951)

Harriet (Patricia Walters) is a teenaged girl who belongs to an upper middle-class English family residing on the banks of the Ganges River in British India[a]. Her father (Esmond Knight) runs a jute mill, and she has four sisters and one brother, all several years younger than her. They are raised in a genteel, English setting, and even have the benefit of live-in Indian employees, such as a nanny. The normal order of Harriet's life is shaken when the family's neighbor invites his cousin, Captain John (Thomas E. Breen), to live with him on his plantation. When Captain John arrives, the children discover he has lost one leg in the war. Harriet, her sisters, and Harriet's best friend Valerie (Adrienne Corri) are all smitten with him and therefore invite him to a Diwali celebration. Harriet also gains the courage to show him her "secret book" - her diary. He politely acquiesces in a non-romantic way. Later, eager to impress upon him her familiarity with Hindu religion, or perhaps to divert his attention from Valerie, Harriet tells him a marriage story where mundane identities of ordinary peasants are subject to divine change and transformation. In this tale, Lord Krishna intervenes in a wedding ceremony to assume the identity of the groom, and a bride is temporarily transformed into Krishna's consort. There follows an extended dance sequence with Radha Burnier performing as Krishna's consort. After Harriet's story, Valerie steals the diary and reads lovelorn passages of it aloud in front of Captain John, embarrassing Harriet greatly. Harriet's brother develops an obsession with cobras after watching a snake charmer one day in the market. Happening across the boy playing a flute to a cobra in their garden one day, Harriet commands him to inform their parents of the dangerous snake's presence. She does not tell them herself after becoming distracted by an opportunity to eavesdrop on Captain John and Valerie. Harriet follows them to a point on the river bank where, believing they are alone, Captain John trades a passionate kiss with Valerie. Harriet's brother's body is found soon after, killed by the cobra. Overcome with jealousy and wracked with guilt over the boy's death, Harriet loses the will to live. She runs away from home that night and attempts to commit suicide by floating down the river in an unattended canoe-like skiff, the river being dangerous to navigate at night due to strong currents. However her late brother's friend Kanu sees her steal the boat and local fishermen rescue her from the water. Ashore, she refuses transport back to her family. Captain John, sent by Kanu, arrives, eases her mind, and kisses her on the forehead to her delight. She then allows him to take her home. It is revealed subsequently that Captain John also has an interest in Melanie (Radha Burnier), the twenty-ish, biracial daughter from his cousin's marriage to a now-deceased Indian woman. Captain John and Melanie compare their experiences struggling with wartime injury and being biracial respectively. The story ends with Harriet's mother giving birth to another baby girl. Prevented from entering the room just after labor is completed, Harriet, Valerie and Melanie pause for a moment in front of the river to reflect on the cycles of life and death that take place on its banks.

SNOW WHITE AND THE SEVEN DWARFS (David Hand, 1937)

Having lost both of her parents at a young age, Snow White is a princess living with her wicked and cold-hearted stepmother, the Queen. Fearing that Snow White's beauty will outshine her own, the Queen forces her to work as a scullery maid and asks her Magic Mirror (containing her familiar demon)[6] daily "who is the fairest one of all." For years, the mirror always answers that the Queen is, pleasing her. One day, Snow White meets and falls in love with a prince who overhears her singing. On that same day, the Magic Mirror informs the Queen that Snow White is now the fairest in all of the land. Angered, the Queen orders her Huntsman to take Snow White into the forest, kill her, and bring back her heart in a jeweled box. The Huntsman cannot bring himself to kill Snow White and reveals to her the Queen's plot. He then urges her to flee into the woods and never return. Lost and frightened, Snow White is befriended by woodland animals who lead her to a cottage deep in the woods. Finding seven small chairs in the cottage's dining room, Snow White assumes the cottage is the untidy home of seven orphaned children. With the animals' help, she proceeds to clean the place and cook a meal. Snow White soon learns that the cottage is the home of seven dwarfs named Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy, and Dopey, who work in a nearby mine. Returning home, they are alarmed to find their cottage clean, and suspect that an intruder has invaded their home. Snow White introduces herself, and the dwarfs welcome her after she offers to clean and cook for them. Snow White keeps house for the dwarfs while they mine for jewels during the day; and at night, they all sing, play music, and dance. Back at the castle, the Magic Mirror reveals that Snow White is still living, and with the dwarfs. Enraged that the Huntsman tricked her, the Queen creates a poisoned apple that will put whoever eats it into a death-like sleep. She learns the curse can be broken by "love's first kiss," but is certain Snow White will be buried alive before this can happen. Using a potion to disguise herself as an old hag, the Queen goes to the cottage while the dwarfs are away. The animals see through the disguise, but are unable to warn Snow White; they rush off to find the dwarfs. The Queen fools Snow White into biting into the apple, and she falls into a death-like slumber. The dwarfs return with the animals as the Queen leaves the cottage, and give chase, trapping her on a cliff. She tries to roll a boulder onto them, but lightning strikes the cliff before she can do so, causing her to fall and get crushed to death by the boulder. In their cottage, the dwarfs find Snow White asleep by the poison. Unwilling to bury her in the ground, they instead place her in a glass coffin in the forest. Together with the animals, they keep watch over her. A year later, the prince learns of Snow White's eternal sleep and visits the coffin. Saddened by her apparent death, he kisses her, which breaks the spell and awakens her. The dwarfs and animals all rejoice as the prince takes Snow White to his castle.

FESTEN (Thomas Vinterberg, 1998)

Helge (Henning Moritzen), a respected businessman and family patriarch, is celebrating his 60th birthday at the family-run hotel. Gathered together amongst a large party of family and friends are his wife Else (Birthe Neumann), his sullen eldest son Christian (Ulrich Thomsen), his boorish younger son Michael (Thomas Bo Larsen), and his well-traveled daughter Helene (Paprika Steen). Another sibling, Linda, has recently taken her life at the hotel. Helene finds Linda's suicide note, but hides it in a medicine bottle after becoming upset by the undisclosed contents. Michael fights with his wife, whom he had earlier abandoned on the roadside with their three children, and then has sex with her. He later beats Michelle, a waitress of the hotel, after she pulls him aside to discuss that he had impregnated her in an affair. At Helge's birthday dinner, Christian makes a toast to his father. During the toast, he publicly accuses by making a joke over Helge of sexually abusing both him and his twin sister Linda as children. After an initial shocked silence, the party goes on as usual as guests decide to move past the moment in denial. Helge pulls Christian aside to engage in a baffled conversation about his accusations. He questions his motivations for slandering him, and Christian appears to recant his accusation. However, Christian is spurred to further action by hotel chef Kim (Bjarne Henriksen), a childhood friend who knows about the abuse. Christian then continues his toast by accusing Helge of causing Linda's death through the trauma caused from the abuse. Helge speaks to Christian alone and makes threatening offers to bring up his troubled personal history, including his impotence with women and Christian's perhaps-incestuous relationship with Linda. Further exacerbating the tensions of the day, Helene's black boyfriend Gbatokai (Gbatokai Dakinah) shows up, causing the racist Michael to lead most of the partygoers in singing the racist Danish song "Jeg har set en rigtig negermand" to offend him. Else later makes a toast where she makes insulting comments towards her children, and accuses Christian of having an overactive imagination. With this, she asks him to apologize for his earlier statements and accusations. Christian then accuses Else of knowing about the abuse yet not intervening. Michael and two other guests eject Christian from the hotel. When Christian walks back in, they beat him and tie him to a tree in the woods outside of the hotel. Christian unties himself and returns. Pia finds Linda's suicide note and gives it to Christian. Christian gives the note to Helene and she reads it aloud in front of the party guests. In the note, Linda states that she is overwhelmed by trauma from Helge's abuse. Helge admits to his misdeeds and leaves the dining room. Christian has a hallucination of Linda, causing him to faint. As he awakes, he learns from Helene that Michael is missing. Michael, also drunk, calls Helge outside and beats him severely. The following morning, the family and guests eat breakfast when Helge comes in and speaks to the group. He admits to his wrongdoing and declares his love for his children. Michael tells his father to leave the table.

MON ONCLE D'AMÉRIQUE (Alain Resnais, 1980)

Henri Laborit gives an introduction to the physiology of the brain, and also briefly describes his own background. Summary biographies of three fictional characters are given in parallel to his own: Jean Le Gall is born into a comfortable middle-class family on an island in the gulf of Morbihan in Brittany and pursues a career in radio and politics; Janine Garnier, daughter of left-wing working-class parents in Paris, runs away from home to become an actress, but later switches career to be a fashion adviser; René Ragueneau rebels against the old-fashioned outlook of his farming family in Torfou, in Maine-et-Loire, and studies accountancy before becoming an executive in a textile factory in Lille; a company merger forces him to take a new job in Cholet, away from his wife and children. Laborit expounds his ideas on four main types of animal behaviour, grounded respectively in consumption, escape, struggle, and inhibition. The lives of the three fictional characters intersect at various points (Jean in an affair with Janine, René negotiating with Janine about the future of his job) and each of them faces moments of critical life-changing decision. At these moments they are seen as self-identifying with the image of a popular star in French cinema (Jean with Danielle Darrieux, Janine with Jean Marais, and René with Jean Gabin). Laborit comments on the conflicts arising from pursuit of dominance among individuals and defensive reactions to it, and reflects on the need for better understanding of the human brain.

MONSIEUR VERDOUX (Charles Chaplin, 1947)

Henri Verdoux had been a bank teller for thirty years before being laid off. To support his wheelchair-using wife and his child, he turns to the business of marrying and murdering wealthy widows. The Couvais family becomes suspicious when Thelma Couvais withdraws all her money and disappears two weeks after marrying a man named "Varnay", whom they only know through a photograph. As Verdoux (Chaplin) prepares to sell Thelma Couvais's home, the widowed Marie Grosnay (Isobel Elsom) visits. Verdoux sees her as another "business" opportunity and attempts to charm her, but she refuses. Over the following weeks, Verdoux has a flower girl (Barbara Slater) repeatedly send Grosnay flowers. In need of money to invest, Verdoux, as M. Floray, visits Lydia Floray (Margaret Hoffman) and convinces her he is her absent husband. She complains that his engineering job has kept him away too long. That night, Verdoux murders her for her money. At a dinner party with his real wife and their friend the local chemist, Verdoux asks the chemist about the drug he developed to exterminate animals painlessly. The chemist explains the formula and that he had to stop working on it after the local pharmaceutical board banned it, so Verdoux attempts to recreate the drug. Shortly thereafter, Verdoux finds The Girl (Marilyn Nash) taking shelter from the rain in a doorway and takes her in. When he finds she was just released from prison and has nowhere to go, he prepares dinner for her with wine laced with his newly developed poison. Before drinking the wine, she thanks him for his kindness, and starts to talk about her husband who died while she was in jail. After she says her husband was a helpless invalid and that made her all the more devoted to him, Verdoux says he thinks there's cork in her wine and replaces it with a glass of unpoisoned wine. She leaves without knowing of his cynical intentions. Verdoux makes several attempts to murder Annabella Bonheur (Martha Raye), who believes Verdoux to be Bonheur, a sea captain who is frequently away, including by strangulation while boating, and by poisoned wine, but she is impervious, repeatedly escaping death without even realizing while, at the same time, putting Verdoux himself in danger or near death. Meanwhile, Grosnay eventually softens and relents from the continual flowers from Verdoux and invites him to her residence. He convinces her to marry him, and Grosnay's friends hold a large public wedding to Verdoux's disapproval. Unexpectedly, Bonheur shows up to the wedding. Panicking, Verdoux fakes a cramp to avoid being seen and eventually deserts the wedding. In the years leading up to Second World War, European markets collapse, with the subsequent bank failures causing Verdoux to go bankrupt. The economic crisis leads to rise of fascism across Europe. A few years later, in 1937, with the Spanish Civil War underway, The Girl, now well-dressed and chic, once again finds Verdoux on a street corner in Paris. She invites him to an elegant dinner at a high-end restaurant as a gesture of gratitude for his actions earlier. The girl has married a wealthy munitions executive she does not love to be well-off. Verdoux reveals that he has lost his family. At the restaurant, members of the Couvais family recognize Verdoux and attempt a pursuit. Verdoux delays them long enough to bid the unnamed girl farewell before letting himself be captured by the investigators. Verdoux is exposed and convicted of murder. When he is sentenced in the courtroom, rather than expressing remorse he takes the opportunity to say that the world encourages mass killers, and that compared to the makers of modern weapons he is but an amateur. Later, before being led from his cell to the guillotine, a journalist asks him for a story with a moral, but he answers evasively, dismissing his killing of a few, for which he has been condemned, as not worse than the killing of many in war, for which others are honored, "Wars, conflict - it's all business. One murder makes a villain; millions, a hero. Numbers sanctify, my good fellow!" His last visitor before being taken to be executed is a priest (Fritz Leiber). When guards come to take him to the guillotine he is offered a cigarette, which he refuses, and a glass of rum, which he also refuses before changing his mind. He says "I've never tasted rum", downs the glass, and the priest begins reciting a prayer in Latin as the guards lead him away and the film ends.

HISTOIRE(S) DU CINÉMA (Jean-Luc Godard, 1988-98)

Histoire(s) du cinéma is conceived as a cinematic painting that brings together the elements of the novel and of painting.[13][14] As cinema, it constructs into one whole three interrelated directions of enquiry: what the century has done to cinema; what cinema has done to the century; what makes up the image (cinematic or otherwise) in general.[15] Above and beyond its scholarly dimension, Histoire(s) involves a positive project of the reinvention of cinema through the realization of Godard's earlier ideas on the history of cinema, and the cinematic modes of thought and history, along with establishing "metacinema" as a way to view the world, following Henri Bergson and Gilles Deleuze.[Note 1] At the same time, Godard seeks to push the limits of cinema in order to bring about his "videographic refashioning of cinema in the technical, ontological, and philosophical manners necessarily involves bringing cinema to its limits".[16]

HAPPY TOGETHER (Wong Kar-wai, 1997)

Ho Po-Wing and Lai Yiu-Fai are a gay couple from Hong Kong with a tumultuous relationship marked by frequent separations and reconciliations. They visit Argentina together but break up after they become lost while traveling to visit the Iguazu Falls. Without the money to fly home, Fai begins to work as a doorman at a tango bar in Buenos Aires, while Po-Wing lives promiscuously, often seen by Fai with different men. After Fai accuses Po-Wing of spending all of his money and stranding him in Argentina, Po-Wing steals from one of his acquaintances and is severely beaten. Fai allows Po-Wing to live with him in his small rented room and cares for his injuries. They attempt to reconcile their relationship, though it is marred by mutual suspicion and jealousy. Fai loses his job at the tango bar after beating the man who injured Po-Wing. He begins working at a Chinese restaurant where he befriends Chang, a Taiwanese co-worker. Later, Po-Wing and Fai have a final argument where Fai refuses to return Po-Wing's passport. Po-Wing moves out of the apartment when he fully recovers. Sometime thereafter, Chang leaves Buenos Aires to continue his travels. Having finally earned enough money to fly home, Fai decides to visit the Iguazu Falls alone before he leaves. Meanwhile, Po-Wing returns to the empty apartment, heartbroken, realizing that Fai is gone for good. Fai returns to Hong Kong but has a stopover in Taipei. Coincidentally, he ends up eating at a food stall in a night market run by Chang's family. He steals a photo of Chang from the booth, saying that even though he does not know if he will ever see Chang again, he knows where to find him.

BADLANDS (Terrence Malick, 1973)

Holly Sargis narrates the film as a 15-year-old living in Fort Dupree, a dead-end South Dakota town. She has a strained relationship with her father, a sign painter, since her mother's death from pneumonia years earlier. Holly meets Kit Carruthers, a 25-year-old garbage collector, troubled greaser and Korean War veteran. He resembles James Dean, an actor whom Holly admires. After Kit charms Holly, he takes her virginity. As they become closer, his violent and antisocial tendencies are gradually revealed. Holly's father disapproves of Kit and kills her dog as punishment for spending time with him. Kit breaks into Holly's house and insists she run away with him. When her father protests and threatens to call the police, Kit shoots him dead. After Kit and Holly fake suicide by burning down the house, they head for the badlands of Montana. They build a treehouse in a remote area and live there, fishing and stealing chickens for food. They flee after being found by three men (who Kit later tells Holly were bounty hunters) whom Kit shoots dead. They seek refuge with Kit's former co-worker Cato, but when he attempts to summon help, Kit shoots him too. Kit forces a young couple who arrive to visit Cato into a storm cellar. He shoots into the closed cellar door and leaves without checking to see if they are dead. Kit and Holly are pursued across the Midwest by law enforcement. They stop at a rich man's mansion and take supplies, clothing, and his Cadillac, sparing the lives of the man and his deaf housemaid. As they drive across Montana to Saskatchewan, the police find and chase them. Holly, who has grown tired of Kit and life on the run, refuses to go with him and turns herself in. Kit leads the police on a car chase but is soon caught. He charms the arresting officers and National Guard troops, tossing them his personal belongings as souvenirs of his crime spree. Holly reveals at the end that she received probation and married her defense attorney's son, and Kit was executed for his crimes.

SECRETS & LIES (Mike Leigh, 1996)

Hortense Cumberbatch, a black optometrist in London who was adopted as a child, has chosen to trace her family history after the death of her adoptive mother. Despite being warned by public officials about the troubles she could face by tracking down her birth mother, she continues her investigation and is surprised to learn that her birth mother is white. The woman in question, Cynthia Purley, works in a cardboard box factory and lives in East London with her other daughter Roxanne, a street sweeper; the pair have a tense relationship. Cynthia's younger brother Maurice is a successful photographer who lives in the suburbs with his wife Monica. They also have domestic difficulties due to Monica's often distant temperament. Later scenes reveal that she suffers from depression over her inability to have children. Cynthia and Monica have never liked one another: Monica regards her sister-in-law as self-pitying and overly hysterical, while Cynthia deems Monica greedy and snobbish. For this reason, Maurice rarely sees Cynthia and Roxanne despite not living particularly far from them, but he and Monica both look forward to celebrating their niece's upcoming 21st birthday. When Maurice pays Cynthia a surprise visit, she breaks down in tears, berating her brother for his long absence. Before leaving, Maurice gives her money to pay for repairs on the house and tells her of his and Monica's wish to hold a barbecue for Roxanne's birthday. Roxanne is revealed to have a boyfriend, Paul, whom Cynthia has never met. This leads to an argument between mother and daughter; Roxanne storms out, leaving Cynthia in tears. Shortly thereafter, Hortense rings Cynthia and starts to enquire about "baby Elizabeth Purley", who she says was born in 1968. Cynthia realises that Hortense is the daughter she gave up for adoption as a teenager and hangs up the phone in distress; persevering, Hortense rings Cynthia again and eventually manages to persuade her to meet her. When they come face to face, Cynthia, not expecting Hortense to be black, insists that a mistake has been made with the birth records. Hortense convinces Cynthia to look at some documents pertaining to Hortense's birth. Cynthia remains convinced that Hortense is not her daughter until, suddenly, she retrieves a memory and begins to cry, stating that she is ashamed. Hortense then asks who her father was, to which Cynthia replies, "You don't wanna know that, darling." The pair continue to converse, asking questions about one another's lives. Soon Hortense and Cynthia have struck up a friendship; Cynthia, who is not in the habit of going out, suddenly finds herself doing so frequently, catching the attention of Roxanne, who is confused by her mother's secrecy. On one of their meetings, Cynthia mentions to Hortense Roxanne's birthday party. She later asks Maurice if she can bring a "mate from work" to the barbecue; when he says yes, she relays this information to Hortense, who, despite her reservations, agrees to attend and pose as Cynthia's colleague. On the day of the birthday party Monica tries to be welcoming, but she and Cynthia make passive-aggressive comments to one another. During the barbecue Hortense evasively answers the many questions that are put to her by the other guests. The party moves inside due to rain. While Hortense is in the bathroom, Cynthia, who has become increasingly nervous, reveals that she is Hortense's mother. Roxanne dismisses this claim, assuming that she has had too much to drink, but when Monica inadvertently confirms it as true, she is furious and storms out of the house. Maurice attempts to pacify the situation by confronting Roxanne at a nearby bus stop, and he and Paul manage to convince her to hear her mother out. Meanwhile, Cynthia and Monica quarrel. Cynthia says that Monica should try bringing up a child on her own, to which Monica, though visibly upset, says nothing. When Roxanne, Maurice and Paul return, Cynthia explains matters: she fell pregnant at fifteen and was sent away by her father; after the adoption she never expected Hortense to seek her out. Cynthia proceeds to berate Monica, and Maurice, coming to the latter's defence, reveals that she is physically incapable of having children. He loses his temper, exhorting those present to "share [their] pain" instead of harbouring resentments. He praises Hortense for having the courage to seek the truth. Monica breaks down crying after her secret has been revealed, and Cynthia goes to comfort Monica and the two women hug each other as a sign of them starting to reconcile. Cynthia then explains that Roxanne's father was an American medical student vacationing in Benidorm whom she met at a pub. One morning, Cynthia awoke and he had gone. Hortense again enquires as to the identity of her father. Cynthia replies, "Don't break my heart, darling." After a while things have calmed down and Hortense pays a visit to Cynthia and Roxanne at their home. When Hortense reveals that she always wanted a sister, Roxanne says that she would be happy to introduce Hortense as her half-sister notwithstanding the long explanations that it would entail.

THROUGH THE OLIVE TREES (Abbas Kiarostami, 1994)

Hossein Rezai plays a local stonemason-turned-actor. Outside the set of a film in which he is acting, he makes a marriage proposal to his leading lady, a student named Tahereh, who was orphaned by an earthquake. Because he is poor and illiterate, the girl's family finds his offer insulting; the girl avoids him as a result. She continues evading him even when they are filming, as she seems to have trouble grasping the difference between her role in the film and her real-life self. The fictional couple takes part in what would be the filming of Life, and Nothing More.... The situation complicates further as Hossein still pursues the affections of the young actress while the film goes on. The director learns about this and tries to advise Hossein about what to do. He then illustrates their story and where the conflict began. The girl manages to finish the scene while Hossein woos her and then departs by walking as Hossein runs to follow her. In the final scene, at a great distance, the girl finally gives an answer to Hossein and we are left with him running through a green field and back into the olive grove. The audience is left to wonder what response was given by the girl.

NETWORK (Sidney Lumet, 1976)

Howard Beale, longtime evening TV anchorman for the UBS Evening News, learns from friend and news division president Max Schumacher that he has just two more weeks on the air because of declining ratings. The following night, Beale announces on live broadcast that he will commit suicide on next Tuesday's broadcast. UBS tries to immediately fire Beale, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises to apologize for his outburst, but once on the air, he launches into a rant about life being "bullshit." Beale's outburst causes ratings to spike, and much to Schumacher's dismay, the UBS upper echelons decide to exploit the situation. When Beale's ratings soon top out, programming chief Diana Christensen reaches out to Schumacher with an offer to help "develop" the show. He declines the professional proposal, but accepts her more personal pitch; the two begin an affair. When Schumacher decides to end Beale's "angry man" format, Christensen persuades her boss, Frank Hackett, to slot the evening news show under the entertainment programming division so she can develop it. Hackett bullies the UBS executives to consent and fire Schumacher. In one impassioned diatribe, Beale galvanizes the nation, persuading viewers to shout "I'm as mad as hell, and I'm not going to take this anymore!" from their windows. Beale is soon hosting a new program called The Howard Beale Show, top-billed as "the mad prophet of the airwaves". The show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants his signature catchphrase: "We're as mad as hell, and we're not going to take this anymore!" Schumacher and Christensen's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together, and Schumacher separates from his wife of over 25 years for Christensen. Christensen, seeking just one more hit show, cuts a deal with a band of terrorists called the Ecumenical Liberation Army (ELA) for a new docudrama series, The Mao Tse-Tung Hour, for the upcoming fall season, for which the ELA will provide exclusive footage of their activities. Her liaison, Communist Party USA representative Laureen Hobbs, initially objects to the promotion of violent terrorism, believing Americans are "not yet ready for open revolt" and that the ELA will harm left-wing causes in America, but relents after Christensen promises her total editorial control of the weekly prime time program. When Beale discovers that Communications Corporation of America (CCA), the conglomerate parent of UBS, will be bought out by an even larger Saudi conglomerate, he launches an on-screen tirade against the deal and urges viewers to pressure the White House to stop it. This panics top network brass because UBS's debt load has made the merger essential for its survival. Beale meets with CCA chairman Arthur Jensen, who explicates his own "corporate cosmology" to Beale, describing the inter-relatedness of the participants in the international economy and the illusory nature of nationality distinctions. Jensen persuades Beale to abandon his populist message and preach his new "evangel". Christensen's fanatical devotion to her job and emotional emptiness ultimately drive Schumacher away and back to his wife, and he warns his former lover that she will self-destruct if she continues running her career at its current pace. Audiences find Beale's new sermons on the dehumanization of society depressing and ratings start to slip, yet Jensen will not allow UBS to fire Beale, despite protestations from Hackett, who fears a loss of ad revenue, and Hobbs, who fears that Beale's slipping ratings will harm viewer numbers for The Mao Tse-Tung Hour. Seeing its two-for-the-price-of-one value - solving the Beale problem plus sparking a boost in season-opener ratings - Christensen, Hackett, and the other executives decide to hire the ELA to assassinate Beale on the air. The assassination succeeds, putting an end to The Howard Beale Show and kicking off the second season of The Mao Tse-Tung Hour. A voice-over proclaims, "This was the story of Howard Beale: the first known instance of a man who was killed because he had lousy ratings."

THE FOUNTAINHEAD (King Vidor, 1949)

Howard Roark is an individualistic architect who follows his own artistic path in the face of public conformity. Ellsworth Toohey, the architecture critic for The Banner newspaper, opposes Roark's individualism and volunteers to lead a print crusade against him. Wealthy and influential publishing magnate Gail Wynand pays little attention, approving the idea and giving Toohey a free hand. Dominique Francon, a glamorous socialite who writes a Banner column, admires Roark's designs, and opposes the paper's campaign against him. She is engaged to an architect, the unimaginative Peter Keating (Kent Smith). She never has met or seen Roark, but she believes that he is doomed in a world that abhors individualism. Wynand falls in love with Francon and exposes Keating as an opportunist. Roark is unable to find a client willing to build according to his vision. He walks away from opportunities that involve any compromise of his standards. Broke, he takes a job as a day laborer in a quarry that belongs to Francon's father and is near the Francon summer home. The vacationing Francon visits the quarry on a whim and spots Roark, and they share a mutual attraction. Francon contrives to have Roark repair some white marble in her bedroom. Roark mocks her pretense, and after the first visit, he sends another worker to complete the repair. Francon is enraged and returns to the quarry on horseback. She finds Roark walking from the site. He again mocks her, and she strikes him across the face with her horsewhip. He later appears in her open bedroom, forcefully embracing and kissing her passionately. In his room, Roark finds a letter offering him a new building project. He immediately packs up and leaves. Francon later goes to the quarry and learns that Roark has quit. She does not know that he is Howard Roark, the brilliant architect whom she had once championed in print. Wynand offers to marry Francon, though she is not in love with him. Francon demurs and soon learns Roark's true identity when she is introduced to him at a party opening the Enright House, a new building that Roark has designed. Francon goes to Roark's apartment and offers to marry him if he gives up architecture, saving himself from public rejection. Roark rejects her fears and says that they will face many years apart until she alters her thinking. Francon finds Wynand and accepts his marriage proposal. Wynand agrees and commissions Roark to build him a lavish but secluded country home. Wynand and Roark become friends, which drives Francon to jealousy. Keating, employed to create an enormous housing project, requests Roark's help. Roark agrees, demanding that Keating must build it exactly as designed in exchange for permitting Keating to take all of the credit. With prodding from the envious Toohey, the firm backing the project alters the Roark design presented by Keating into a gingerbread monstrosity. Roark, with Francon's help, rigs explosives to destroy the buildings and is arrested at the site. Toohey pressures Keating into privately confessing that Roark had designed the project. Roark goes on trial and is painted as a public enemy by every newspaper apart from The Banner, in which Wynand now publicly campaigns on Roark's behalf. However, Toohey has permeated The Banner with men loyal to him. He has them quit and uses his clout to keep others out. He leads a campaign against The Banner's new policy that all but kills the newspaper. Faced with losing, Wynand saves The Banner by bringing back Toohey's gang, joining the rest in publicly condemning Roark. Calling no witnesses, Roark addresses the court on his own behalf. He makes a long and eloquent speech defending his right to offer his own work on his own terms. He is found innocent of the charges against him. A guilt-stricken Wynand summons the architect and coldly presents him with a contract to design the Wynand Building, destined to become the greatest structure of all time, with complete freedom to build it however Roark sees fit. As soon as Roark leaves, Wynand pulls out a pistol and kills himself. Months later, Francon enters the construction site of the Wynand Building and identifies herself as Mrs. Roark. She rises in the open construction elevator, looking upward toward the figure of her husband. Roark stands triumphant, his arms akimbo, near the edge of the tall skyscraper as the crosswinds buffet him atop his magnificent, one-of-a-kind creation.

THE RIVER (Tsai Ming-liang, 1997)

Hsiao-Kang (Lee Kang-sheng), a young man in his 20s, is going up an escalator in Taipei when he meets an old girlfriend of his (Chen Shiang-chyi). She convinces him to accompany her to a film shoot that she is working on. While eating lunch, Hsiao-Kang is spotted by the film's director (Ann Hui). The scene that they are currently shooting needs an actor, so Hsiao-Kang agrees to step in. He lies face down in the dirty Tamsui River for a few seconds, pretending to be a dead body. After the scene is completed, he and his friend get a room in a hotel so Hsiao-Kang can take a shower. The two then have sexual intercourse. Hsiao-Kang drives home on his motorcycle and begins to feel some soreness in his neck. He eventually falls off the bike, and a man, later shown to be his father (Miao Tien), tries to help him up, but Hsiao-Kang ignores him and drives the rest of the way back. By that night, his neck pain is even worse. He goes to his mother (Lu Yi-ching), and she rubs some lotion on him. However, the pain does not go away. The family tries different methods of healing, including acupuncture, but nothing works, and Hsiao-Kang begins to wish he were dead. Meanwhile, it is apparent that the family is fractured, with communication problems. Hsiao-Kang's father regularly visits a bathhouse and has sexual encounters with other men. The mother is having an affair with a pornographer. Finally, Hsiao-Kang and his father travel to see a provincial healer. The healer is not able to foresee anything on their first visit, so they rent a hotel room. That night, they both go to the same bathhouse, separately. Hsiao-Kang eventually walks into his dad's room in the dark, and the two give each other handjobs. When Hsiao-Kang's father turns the light on and sees his son, he slaps him, and Hsiao-Kang runs out. They meet back at the hotel room. The next morning, the father receives a phone call from the healer, who says that he cannot help them. The father then wakes Hsiao-Kang up and says that they're leaving. Hsiao-Kang walks out onto the hotel room balcony, while clutching his neck and grimacing in pain.

MOONLIGHT (Barry Jenkins, 2016)

I. Little[edit] In Liberty City, Miami at the height of the crack epidemic, Afro-Cuban drug dealer Juan finds Chiron, a withdrawn child who goes by the nickname "Little," hiding from a group of bullies in a crackhouse. He lets Chiron spend the night with him and his girlfriend Teresa before returning Chiron to his mother Paula. Chiron continues to spend time with Juan, who begins to teach him the basics of life, from what he believes Chiron can benefit from. One night, Juan encounters Paula smoking crack with one of his customers. Juan berates her for being addicted and for neglecting her son, but she rebukes him for selling crack to her in the first place; all the while, they argue over Chiron's upbringing. She implies that she knows why Chiron gets tormented by his peers, alluding to "the way he walks" before going home and taking out her frustration on Chiron. The next day, Chiron admits to Juan and Teresa that he hates his mother and asks what a "******" is. Juan tells him it is "a word used to make gay people feel bad." He tells Chiron there is nothing wrong with being gay and that he should not allow others to mock him. Chiron then asks Juan whether he sells drugs and whether his mother does drugs. After Juan remorsefully answers yes to both questions, Chiron leaves. II. Chiron[edit] Now a teenager, Chiron juggles avoiding school bully Terrel and spending time with Teresa, who has lived alone since Juan's death. Paula, who has turned to prostitution due to her worsening addiction, forces Chiron to give her the money he receives from Teresa. Chiron's childhood friend Kevin tells him about a detention he received for being caught having sex with a girl in a school stairwell. Chiron later dreams about Kevin and the girl having sex in Teresa's backyard, waking with a start. One night, Kevin visits Chiron at the beach near his house. While smoking a blunt together, the two discuss their ambitions and the nickname Kevin gave Chiron when they were children. They kiss, and Kevin gives Chiron a handjob. The next morning, Terrel manipulates Kevin into participating in a hazing ritual. Kevin reluctantly punches Chiron until he cannot stand, watching as Terrel and other boys savagely attack him. When the principal urges him to reveal his attackers' identities, Chiron refuses, saying that reporting them will not solve anything. The next day, an enraged Chiron walks into class and smashes a chair over Terrel's head before being restrained by classmates and a teacher. Chiron is arrested and leaves the school in a police cruiser while Kevin watches. III. Black[edit] A year and decade later, now going by the nickname "Black," an adult Chiron deals drugs in Atlanta. He receives frequent calls from Paula, who asks him to visit her at the drug treatment center where she is living. One morning, Kevin calls and invites him to see him should he ever come to Miami. While visiting Paula, Chiron breaks his silence. His mother apologizes for not loving him when he needed it most and tells him she loves him even if he does not love her back. The two tearfully reconcile before Paula lets Chiron go. Chiron travels to Miami and visits Kevin at his workplace, a diner. When his attempts to probe Chiron about his life result in silence, Kevin tells him he has had a child with an ex-girlfriend and, although the relationship ended, he is fulfilled by his role as a father. Chiron reciprocates by talking about his unexpected drug dealing and asks Kevin why he called. Kevin plays "Hello Stranger" by Barbara Lewis on the jukebox, the song that made him think of Chiron. After Kevin serves his friend Chiron dinner, the two of them go to his apartment. Kevin tells Chiron that, although his life didn't turn out as he had hoped, he is happy, resulting in Chiron breaking down and admitting that he has not been intimate with anybody since their encounter years ago. As Kevin comforts him, Chiron remembers himself as Little, standing on a beach in the moonlight.

LE SAMOURAÏ (Jean-Pierre Melville, 1967)

Impassive hitman Jef Costello lives in a spartan single-room Paris apartment and keeps a small bird in a cage as a pet. His methodical modus operandi involves creating airtight alibis, including ones provided by his lover, Jane. After carrying out a contract killing on Martey, the owner of a nightclub, Jef is very clearly seen leaving the scene by the club's piano player, Valérie, and glimpsed by several other witnesses. The police bring in numerous suspects, including Jef, for a lineup, but the witnesses do not agree on an identification. Jef is released, but the commissaire has a hunch he is the culprit and has him followed. He loses the tail and goes to collect his fee for the hit, but, instead of paying him, the man he meets tries to kill him, shooting him in the arm, and Jef realizes his unknown employers now see him as a liability because he is a suspect in Martey's murder. After treating his wound, Jef returns to the nightclub. While he is gone, two police officers bug his room, agitating the bird in its cage. After the nightclub closes, Jef has Valérie take him to her home, reasoning that she told the police he was not the killer because his employer had told her to do so. He asks her to tell him who hired him, and she tells him to call her in two hours. Meanwhile, the police search Jane's apartment, saying they will leave her alone if she withdraws her alibi for Jef, but she flatly rejects the offer. Back at his apartment, Jef notices some loose feathers scattered around his bird's cage as though it had gotten worked up while he was gone. Suspecting an intrusion, he finds the bug and deactivates it, and then goes to a public phone to call Valérie, but she does not answer. When he gets home, he is ambushed by the man who shot him. At gunpoint, the man offers a fresh start and pays Jef for the hit on Martey, as well as for an upcoming one. Jef overpowers the man and forces him to disclose the identity of his boss, Olivier Rey, before asking about the new contract. Dozens of undercover police officers attempt to tail Jef in the Paris Métro, but he is able to lose them. He visits Jane and assures her everything will work out, and then drives to Rey's house, which is where Valérie lives, though she is not home at the moment. Jef kills Rey and returns to the nightclub, this time making no attempt to conceal his presence. He checks his hat, but leaves his hat-check ticket on the counter, and puts on white gloves, which he wears when carrying out his hits, in full view of everyone, before approaching the stage, where Valérie is performing. She quietly advises him to leave, but he pulls out a gun and points it at her. Strangely unafraid, she asks him why he is doing this, and he responds he was paid to do so. Suddenly, Jef is shot four times by policemen who had been waiting for him. When the Commissaire inspects Jef's gun, he discovers it does not contain any bullets.

NOSFERATU (F.W. Murnau, 1922)

In 1838, in the fictional German town of Wisborg,[1][6] Thomas Hutter is sent to Transylvania by his employer, estate agent Herr Knock, to visit a new client named Count Orlok who plans to buy a house across from Hutter's own home. While embarking on his journey, Hutter stops at an inn where the locals become frightened by the mere mention of Orlok's name. Hutter rides on a coach to a castle, where he is welcomed by Count Orlok. When Hutter is eating dinner and accidentally cuts his thumb, Orlok tries to suck the blood out, but his repulsed guest pulls his hand away. Hutter wakes up the morning after to find fresh punctures on his neck, which he attributes to mosquitoes. That night, Orlok signs the documents to purchase the house and notices a photo of Hutter's wife, Ellen, remarking that she has a "lovely neck." Reading a book about vampires that he took from the local inn, Hutter starts to suspect that Orlok is a vampire. He cowers in his room as midnight approaches, with no way to bar the door. The door opens by itself and Orlok enters, and Hutter hides under the bed covers and falls unconscious. Meanwhile, his wife awakens from her sleep, and in a trance walks onto her balcony's railing, which gets his friend Harding's attention. When the doctor arrives, she shouts Hutter's name, apparently able to see Orlok in his castle threatening her unconscious husband. The next day, Hutter explores the castle, only to retreat back into his room after he finds the coffin in which Orlok is resting dormant in the crypt. Hours later, Orlok piles up coffins on a coach and climbs into the last one before the coach departs, and Hutter rushes home after learning this. The coffins are taken aboard a schooner, where the sailors discover rats in the coffins. All of the ship's crew later die and Orlok takes control. When the ship arrives in Wisborg, Orlok leaves unobserved, carrying one of his coffins, and moves into the house he purchased. Many deaths in the town follow after Orlok's arrival, which the town's doctors blame on an unspecified plague caused by the rats from the ship. Ellen reads the book Hutter found, which claims that a vampire can be defeated if a pure-hearted woman distracts the vampire with her beauty and offers him her blood of her own free will. She decides to sacrifice herself. She opens her window to invite Orlok in and pretends to fall ill, so that she can send Hutter to fetch Professor Bulwer, a physician. After he leaves, Orlok enters and drinks her blood, but starts as the sun rises, causing Orlok to vanish in a puff of smoke by the sunlight. Ellen lives just long enough to be embraced by her grief-stricken husband. The last scene shows Count Orlok's destroyed castle in the Carpathian Mountains, symbolizing the end of his bloody reign of terror.

YOJIMBO (Akira Kurosawa, 1961)

In 1860, during the final years of the Edo period,[b] a rōnin wanders through a desolate Japanese countryside. While stopping at a farmhouse for water, he overhears an elderly couple lamenting that their only son, not wanting to waste his life as a farmer, has run off to join the "gamblers" who have descended on a nearby town overrun with criminals and divided between two rival bosses. The stranger heads to the town where he meets Gonji, the owner of a small izakaya who advises him to leave. He tells the rōnin that the two warring bosses, Ushitora and Seibei, are fighting over the lucrative gambling trade run by Seibei; Ushitora had been Seibei's right-hand man but rebelled when Seibei decided that his successor would be his son Yoichiro, a useless youth. The town's mayor, a silk merchant named Tazaemon, had long been in Seibei's pocket, so Ushitora aligned himself with the local sake brewer, Tokuemon, proclaiming him the new mayor. After sizing up the situation and recognizing that no one in town cares about ending the violence, the stranger says he intends to stay, as the town would be better off with both sides dead. He first convinces the weaker Seibei to hire his services by effortlessly killing three of Ushitora's men. When asked his name, he sees a mulberry field and states his name is Kuwabatake Sanjuro (桑畑三十郎), where 桑畑 Kuwabatake = "mulberry field" and where 三十郎 Sanjuro ("thirty-years-old").[c] Seibei decides that with the ronin's swordsmanship, the time is right to deal with Ushitora. However, Sanjuro eavesdrops on Seibei's wife, who orders Yoichiro to prove himself by killing the ronin after the upcoming raid, saving them from having to pay him. Sanjuro leads the attack on the other faction, but then "resigns" over Seibei's treachery, expecting both sides to massacre each other. His plan is foiled due to the unexpected arrival of a bugyō (a government official), which gives both Seibei and Ushitora the opportunity to make a bloodless retreat and cease their war. The bugyō leaves soon after to investigate the murder of a fellow official in another town. Sanjuro soon realizes that Ushitora sent two men to commit the murder when he overhears them discussing it in Gonji's tavern. With this knowledge, Sanjuro captures the killers and sells them to Seibei, but then tells Ushitora that it was Seibei's men who caught them. An alarmed Ushitora rewards him generously for his help and orders the kidnapping of Yoichiro, whom he offers in exchange for the two prisoners. However, Ushitora double-crosses Seibei at the swap when his brother, Unosuke, shoots the assassins with a pistol; anticipating this, Seibei reveals he had ordered the kidnapping of Tokuemon's mistress. The next morning, she is exchanged for Yoichiro. Sanjuro learns that the woman, Nui, is the wife of a local farmer who lost her to Ushitora over a gambling debt; Ushitora then gave her away as chattel to Tokuemon in order to gain his support. Sanjuro tricks Ushitora into revealing the safe house where Nui is hidden, then kills the guards posted there and reunites the woman with her husband and son, ordering them to leave town immediately. Pretending to be on Ushitora's side, Sanjuro is able to convince Ushitora that Seibei is responsible for killing his men. The gang war escalates, with Ushitora burning down Tazaemon's silk warehouse and Seibei retaliating by trashing Tokuemon's brewery. After some time, Unosuke becomes suspicious of Sanjuro and the circumstances surrounding Nui's escape, eventually uncovering evidence of the ronin's betrayal. Sanjuro is severely beaten and imprisoned by Ushitora's thugs, who torture him to find out Nui's whereabouts. Sanjuro manages to escape when Ushitora decides to eliminate Seibei once and for all. As he is being smuggled out of town in a coffin by Gonji, he witnesses the brutal end of Seibei and his family as their home is set on fire and they are all cut down while trying to surrender. Sanjuro recuperates in a small temple near a cemetery. However, when he learns that Gonji has been captured by Ushitora, he returns to town. Sanjuro confronts Ushitora, Unosuke, and their gang, taking on all of them by himself in a duel and killing them easily. He spares only one terrified young man, who turns out to be the youth he met on the way into town, and sends him back to his parents. As Sanjuro surveys the damage, Tazaemon comes out of his home, in a samurai outfit and beating a prayer drum. Driven mad, he circles around town and then goes after Tokuemon, stabbing him to death. Sanjuro frees Gonji, proclaims that the town will be quiet from then on, and departs.

GONE WITH THE WIND (Victor Fleming, 1939)

In 1861, on the eve of the American Civil War, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents, two sisters, and their many black slaves. Scarlett is deeply attracted to Ashley Wilkes and learns he is to be married to his cousin, Melanie Hamilton. At an engagement party the next day at Ashley's home, Twelve Oaks, a nearby plantation, Scarlett makes an advance on Ashley but is rebuffed; however, she catches the attention of another guest, Rhett Butler. The party is disrupted by news of President Lincoln's call for volunteers to fight the South, and the Southern men rush to enlist. Scarlett marries Melanie's younger brother Charles to arouse jealousy in Ashley before he leaves to fight. Following Charles's death while serving in the Confederate States Army, Scarlett's mother sends her to the Hamilton home in Atlanta. She creates a scene by attending a charity bazaar in mourning attire and waltzing with Rhett, now a blockade runner for the Confederacy. The tide of war turns against the Confederacy after the Battle of Gettysburg. Many of the men of Scarlett's town are killed. Eight months later, as the Union Army besieges the city in the Atlanta campaign, Melanie gives birth with Scarlett's aid, and Rhett helps them flee the city. Rhett chooses to go off to fight, leaving Scarlett to make her own way back to Tara. She finds Tara deserted, except for her father, sisters, and former slaves, Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever, and her father has lost his mind. With Tara pillaged by Union troops and the fields untended, Scarlett vows to ensure her and her family's survival. With the defeat of the Confederacy, the O'Haras toil in the cotton fields. Ashley returns but finds he is of little help to Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately but says he cannot leave Melanie. Scarlett's father attempts to chase away a carpetbagger from his land but is thrown from his horse and killed. Unable to pay the Reconstructionist taxes imposed on Tara, Scarlett dupes her younger sister Suellen's fiancé, the middle-aged and wealthy general store owner Frank Kennedy, into marrying her by saying Suellen got tired of waiting and married another suitor. Frank, Ashley, Rhett, and several other accomplices make a night raid on a shanty town after Scarlett is attacked while driving through it alone, resulting in Frank's death. Shortly after Frank's funeral, Rhett proposes to Scarlett, and she accepts. Rhett and Scarlett have a daughter whom Rhett names Bonnie Blue, but Scarlett still pines for Ashley and, chagrined at the perceived ruin of her figure, refuses to have any more children or share a bed with Rhett. One day at Frank's mill, Ashley's sister, India, sees Scarlett and Ashley embracing. Harboring an intense dislike of Scarlett, India eagerly spreads rumors. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley. Melanie, however, stands by Scarlett. After returning home, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Rhett kisses Scarlett against her will, stating his intent to have sex with her that night, and carries the struggling Scarlett to the bedroom. The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying it would be a disgrace. When Rhett returns from an extended trip to London, England, Scarlett informs him that she is pregnant, but an argument ensues, resulting in her falling down a flight of stairs and suffering a miscarriage. While recovering, tragedy strikes again when Bonnie dies while attempting to jump a fence with her pony. Scarlett and Rhett visit Melanie, who has suffered complications from a new pregnancy, on her deathbed. As Scarlett consoles Ashley, Rhett prepares to leave Atlanta. Having realized that it was him, and not Ashley, she truly loved all along, Scarlett pleads with Rhett to stay, but he rebuffs her and walks away into the morning fog. A distraught Scarlett resolves to return home to Tara, vowing to one day win Rhett back.

THE GOOD, THE BAD AND THE UGLY (Sergio Leone, 1966)

In 1862, during the American Civil War, a mercenary known as "Angel Eyes" interrogates former Confederate soldier Stevens, whom Angel Eyes is contracted to kill, about Jackson, a fugitive who stole a cache of Confederate gold. Learning Jackson's new alias "Bill Carson," Angel Eyes kills Stevens and then his employer Baker so he can find the gold himself. Bandit Tuco Ramirez is rescued from bounty hunters by a nameless drifter who is called "Blondie" by Tuco. Blondie delivers Tuco to the local sheriff to collect his $2,000 bounty. As Tuco is about to be hanged, Blondie severs Tuco's noose by shooting it and setting him free. The two escape on horseback and split the bounty. They repeat the process in other towns until Blondie grows weary of Tuco's complaints and strands him in the desert. Bent on revenge, and after one failed attempt with his gang, Tuco finally catches up with Blondie and force-marches him across the desert until Blondie collapses from dehydration. A runaway horse-drawn hospital ambulance arrives with several dead Confederate soldiers and a near-death Bill Carson, who promises Tuco $200,000 in Confederate gold, buried in a grave in Sad Hill Cemetery, in exchange for help. When Tuco returns with water, Carson has died and Blondie is slumped next to him, revealing that Carson recovered and told him the name on the grave before dying. Tuco poses as a Confederate soldier and takes Blondie to a nearby frontier mission to recover. At the mission, Tuco reunites with his brother, Pablo, who left his family when Tuco was young to become a priest. Their meeting does not go well; they become hostile and engage in a physical confrontation. Tuco and Blondie subsequently leave the monastery. The duo decides to search for the gold together. Tuco yells Confederate-supportive statements to a group of soldiers but they turn out to be members of a Union patrol, the blue color of their uniforms having been obscured by dust. Blondie and Tuco are taken to a prison camp that Angel Eyes has infiltrated as a Union sergeant in his search for Bill Carson. Tuco poses as Carson and is taken away for questioning. He reveals the name of the cemetery under torture and is sent away to be hanged. Knowing Blondie would not reveal the name on the grave, Angel Eyes recruits him into his search. Tuco escapes his fate by killing Angel Eyes' henchman and soon finds himself in an evacuated town, where Blondie, Angel Eyes, and his gang have also arrived. Blondie finds Tuco and the pair kill Angel Eyes' men, though Angel Eyes escapes. They travel toward Sad Hill before ending up on the Union side of a military siege over a strategic bridge. Blondie decides to destroy the bridge to disperse the two armies to allow access to the cemetery. As they wire the bridge with explosives, Tuco suggests they share information. Tuco reveals the name of the cemetery, while Blondie says "Arch Stanton" is the name on the grave. After the bridge is demolished the armies disperse. Tuco steals a horse and rides to Sad Hill to claim the gold for himself. Tuco finds Arch Stanton's grave and begins digging, where Blondie encourages him at gunpoint to continue. Angel Eyes arrives and holds Blondie at gunpoint. Blondie states that he lied about the name on Stanton's grave and appears to write the real name of the grave on a rock before challenging Tuco and Angel Eyes to a three-way duel. The iconic Mexican standoff, with Tuco seen on the left, Angel Eyes in the middle, and Blondie on the right. The scene is accompanied by Ennio Morricone's "The Trio". The trio stares each other down. Everyone eventually draws with Blondie killing Angel Eyes, while Tuco discovers that his gun was unloaded by Blondie the night before. Blondie reveals that the gold is actually in the grave beside Arch Stanton's, marked "Unknown". Tuco is initially elated to find bags of gold, but Blondie holds him at gunpoint and orders him into a hangman's noose beneath a tree. Blondie binds Tuco's hands and forces him to stand atop an unsteady grave marker while he takes his half of the gold and rides away. As Tuco screams for mercy, Blondie returns into sight. He severs the rope with a rifle shot, leaving Tuco alive to furiously curse him while Blondie disappears over the horizon.

HEAVEN'S GATE (Michael Cimino, 1980)

In 1870, two young men, Jim Averill and Billy Irvine graduate from Harvard College. The Reverend Doctor speaks to the graduates on the association of "the cultivated mind with the uncultivated" and the importance of education. Irvine, the class orator, follows this with his opposing, irreverent views. A celebration is then held, after which the male students serenade the women present, including Averill's girlfriend. Twenty years later, Averill is passing through the booming town of Casper, Wyoming, on his way north to Johnson County, where he is now a marshal. Poor European immigrants new to the region are in conflict with wealthy, established cattle barons organized as the Wyoming Stock Growers Association; the newcomers sometimes steal their cattle for food. Nate Champion - a friend of Averill and an enforcer for the stockmen - kills a settler for suspected rustling and dissuades another from stealing a cow. At a board meeting, the head of the Association, Frank Canton, tells members, including a drunk Irvine, of plans to kill 125 named settlers, as thieves and anarchists, with the help of the cruel Major Wolcott. Irvine leaves the meeting, encounters Averill, and tells him of the Association's plans. As Averill leaves, he exchanges bitter words with Canton. Canton and Averill quarrel and Canton is knocked to the floor. That night, Canton recruits men to kill the named settlers. Ella Watson, a Johnson County bordello madam from Quebec, who accepts stolen cattle as payment for use of her prostitutes, is infatuated with both Averill and Champion. Averill and Watson skate in a crowd, then dance alone, in an enormous roller skating rink called "Heaven's Gate," which has been built by local entrepreneur John L. Bridges. Averill receives a copy of the Association's death list from Minardi, a baseball-playing U.S. Army captain and later reads the names aloud to the settlers, who are thrown into terrified turmoil. Cully, a station master and friend of Averill's, sees the train with Canton's posse heading north and rides off to warn the settlers but is murdered en route. Later, a group of men come to Watson's bordello and rape her. Averill shoots and kills all but one of them. Champion, realizing that his landowner bosses seek to eliminate Watson, goes to Canton's camp and shoots the remaining rapist, then refuses to participate in the slaughter. Canton, Wolcott and their men encounter one of Champion's friends leaving a cabin with Champion and his friend Nick inside, and a gunfight ensues. Attempting to save Champion, Watson arrives in her wagon and shoots one of the hired guns before escaping on horseback. Nick is killed before Canton's men push a burning cart towards the cabin, setting it on fire. Champion writes a last letter to Ella. Champion emerges from the burning cabin shooting at Canton's men but is killed by a hail of bullets. Watson warns the settlers of Canton's approach at another huge, chaotic gathering at "Heaven's Gate." The coward mayor of the county, Charlie Lezak, proposes to deliver the people on the list peacefully, while the young pharmacist Eggleston claims that the only way to survive is to brace the weapons and fight the enemy army. The agitated settlers approve Eggleston's idea, and they rush to battle with Bridges and Ella leading them. With the hired invaders now surrounded, both sides suffer casualties (including a drunken, poetic Irvine) as Canton leaves to bring help. Watson and Averill return to Champion's charred and smoking cabin, and discover his corpse, along with a handwritten letter documenting his last minutes alive. The next day, Averill reluctantly joins the immigrant settlers, with their cobbled-together siege machines and explosive charges, in an attack against Wolcott's men and their makeshift fortifications. The battle is fiercer and more desperate. Despite the heavy losses that the immigrants suffer, including Eggleston himself, they manage to inflict a huge number of casualties on the mercenaries' army. Wolcott himself, while trying to escape, is killed by Averill, who hits him with an explosive charge. Before the settlers manage to wipe out the enemies, the US Army shows up with Canton and Minardi, thus stopping the battle. The mercenaries are put under arrest, though Averill is aware that this is just a facade to save them and make them avoid a criminal charge. Later, at Watson's cabin, Bridges, Watson, and Averill prepare to leave for good, but they are ambushed by Canton and two others. Averill and Bridges shoot and kill Canton and one of his men but both Bridges and Watson are killed. A grief-stricken Averill holds Watson's body in his arms. In 1903, about a decade later, a well-dressed, beardless, but older-looking Averill walks the deck of his yacht off Newport, Rhode Island. He goes below, where an attractive middle-aged woman is sleeping in a luxurious boudoir. The woman, Averill's old Harvard girlfriend (perhaps now his wife), awakens and asks him for a cigarette. Silently he complies, lighting the cigarette and returning to the deck.

UNFORGIVEN (Clint Eastwood, 1992)

In 1881, in Big Whiskey, Wyoming, a cowboy—Quick Mike—slashes prostitute Delilah Fitzgerald's face with a knife, permanently disfiguring her, after she laughs at his small penis. As punishment, sheriff "Little Bill" Daggett orders Mike and his associate who was with him at the brothel, David "Davey" Bunting, to turn over several of their horses to her employer, Skinny DuBois, for his loss of revenue. Outraged, the prostitutes offer a $1,000 bounty for the cowboys' deaths. In Hodgeman County, Kansas, a boastful young man calling himself the "Schofield Kid" visits Will Munny's hog farm, claiming to be an experienced bounty hunter looking for help pursuing the cowboys. Formerly a notorious outlaw and murderer, Will is now a repentant widower raising two children. After initially refusing to help, Will realizes that his farm is failing and that his children's future is in jeopardy. He recruits his friend Ned Logan, another retired outlaw, and they catch up with the Kid, who they discover is severely near-sighted. Back in Big Whiskey, British-born gunfighter "English" Bob, an old acquaintance and rival of Little Bill, seeks the bounty. He arrives in town with his biographer W. W. Beauchamp, who naively believes Bob's exaggerated tales. Enforcing the town's anti-gun law, Little Bill and his deputies disarm Bob, and the sheriff beats him savagely to discourage others from attempting to claim the bounty. Little Bill humiliates Bob and banishes him from town the next morning, but Beauchamp stays out of a fascination with the sheriff, who debunks many of the romantic notions Beauchamp has about the Wild West. Little Bill explains to Beauchamp that the best attribute for a gunslinger is to be cool-headed under fire, rather than to have the quickest draw, and to always kill the best shooter first. Will, Ned and the Kid arrive in town during a rainstorm and head to Skinny's saloon. While Ned and the Kid meet with the prostitutes upstairs, Little Bill confronts a feverish Will. Not realizing Will's identity but correctly guessing that he wants the bounty, Bill confiscates his pistol and beats him. Ned and the Kid escape through a back window and take Will to an unoccupied barn outside of town, where they nurse him back to health. A few days later the trio ambush Davey. After missing Davey and hitting his horse, Ned falters and Will shoots Davey instead. Ned decides to quit and sets off back to Kansas. Ned is later captured and flogged to death by Little Bill while trying to learn the whereabouts of Will and the Kid. Will takes the Kid with him to the cowboys' ranch, directing him to ambush Quick Mike in the outhouse and shoot him. After they escape, a distraught Kid drunkenly confesses he had never killed anyone before and is overcome with remorse. A prostitute arrives with the reward and tells them about Ned's fate. Shocked by the news, Will begins drinking and demands the Kid's revolver. The Kid hands it over, saying that he no longer wants to be a killer, and Will sends him back to Kansas to distribute the reward. That night, Will finds Ned's corpse displayed in a coffin outside Skinny's saloon as a warning to bounty hunters. Inside, Little Bill and his deputies are organizing a posse. Will walks in alone brandishing a shotgun and kills Skinny for displaying Ned's corpse. He then takes aim at Little Bill, only for the shotgun to misfire. In the ensuing gunfight Will uses the revolver to wound Little Bill and four deputies. He then orders the rest of the posse out. Beauchamp lingers briefly to ask how Will survived; Will replies that it was luck and scares him away. Little Bill tries and fails to take another shot while lying on the floor, then bemoans his fate and curses Will, who shoots him dead. As he leaves Big Whiskey, Will warns the townsfolk that he will return if Ned is not buried properly or if any more prostitutes are harmed. A closing title card states that Will's mother-in-law found his farm abandoned years later, Will having possibly moved to San Francisco, and she remained at a loss to understand why her daughter married a notorious outlaw and murderer.

SEVEN SAMURAI (Akira Kurosawa, 1954)

In 1586, a bandit gang discusses raiding a mountain village, but their chief decides to wait until after the harvest. The villagers overhear this and turn to Gisaku, the village elder and miller, who declares that they should hire samurai to protect them. Since they have no money and can only offer food as payment, Gisaku advises them to find hungry samurai. Several villagers go into town and eventually find Kambei, an aging but experienced rōnin, whom they see rescuing a young boy held hostage by a cornered thief. A young samurai named Katsushirō asks to become Kambei's disciple. The villagers ask for Kambei's help, and though initially reluctant, he agrees. He then recruits his old comrade-in-arms Shichirōji, along with Gorobei, Heihachi, and Kyūzō, a taciturn master swordsman whom Katsushirō regards with awe. Kikuchiyo, a wild and eccentric samurai-poser, is eventually accepted as well after attempts to drive him away fail. Arriving at the village, the samurai and farmers slowly begin to trust each other. Katsushirō meets Shino, a farmer's daughter disguised as a boy by her father, and sleeps with her despite knowing the difference in their social classes prohibits it. Later, the samurai are angered when Kikuchiyo brings them armor and weapons, which the villagers acquired by killing other samurai injured or fleeing from battle. Kikuchiyo angrily retorts that samurai are responsible for much of the suffering farmers endure, revealing he is an orphaned farmer's son. The samurai's anger turns to shame. Kambei arms the villagers with bamboo spears and organizes them into squads to prepare defenses and train. Three bandit scouts are spotted; two are killed, while the survivor reveals the location of their encampment before being slain by the villagers. The samurai burn down the camp in a pre-emptive strike. Rikichi, a troubled villager aiding the samurai, breaks down when he sees his wife, who was kidnapped and made a concubine during a previous raid. Upon seeing Rikichi, she runs back into a burning hut to her death. Heihachi is killed by a gunshot while stopping Rikichi from pursuing her. At Heihachi's funeral, the saddened villagers are inspired by Kikuchiyo, who raises a banner Heihachi made to represent the six samurai, Kikuchiyo, and the village. When the bandits finally arrive, they are confounded by the new fortifications, which include a moat and high wooden fences. They burn the village's outlying houses, including Gisaku's mill. Gisaku's family tries to save him when he refuses to abandon it, but all perish except a baby rescued by Kikuchiyo. The bandits then besiege the village, but many are killed as the defenders thwart every attack. The bandits possess three matchlock muskets. Kyūzō ventures out alone and captures one; an envious Kikuchiyo abandons his squad to bring back another. However, his absence allows a handful of bandits to infiltrate his post and kill several farmers, and Gorobei is slain defending his position. That night, Kambei predicts that the bandits will make one final assault due to their dwindling numbers. Meanwhile, Katsushirō and Shino's relationship is discovered by her father, who is enraged that her virginity has been taken and beats her. Kambei and the villagers intervene; Shichirōji reasons that such behavior is normal before battle and that they should be forgiven. The next morning, the defenders allow the remaining bandits to enter the village and then ambush them. As the battle nears its end, the bandit chief hides in the women's hut and shoots Kyūzō dead with his musket. An enraged Kikuchiyo charges in and is shot as well, but kills the chief before dying. The remaining outlaws are slain. Afterward, Kambei, Katsushirō and Shichirōji stand in front of the funeral mounds of their comrades, watching the joyful villagers sing while planting their crops. Katsushirō and Shino meet one last time, but their relationship has ended. Kambei says to Shichirōji that it is another pyrrhic victory for the samurai: "The victory belongs to those peasants. Not to us."

THE SEARCHERS (John Ford, 1956)

In 1868, Ethan Edwards returns after an eight-year absence to the home of his brother Aaron in West Texas. Ethan fought in the Civil War (1861-1865) on the side of the Confederacy, and in the three years since that war ended, he also apparently fought in the Second Franco-Mexican War (1861-1867). He has a lot of gold coins of uncertain origin in his possession, and a medal from the Mexican campaign that he gives to his eight-year-old niece, Debbie. As a former Confederate soldier, he is asked to take an oath of allegiance to the Texas Rangers; he refuses. Shortly after Ethan's arrival, cattle belonging to his neighbor Lars Jorgensen are stolen, and Rev. Captain Samuel Clayton leads Ethan and a group of Rangers to recover them. After discovering that the theft was a Comanche ploy to draw the men away from their families, they return and find the Edwards homestead in flames. Aaron, his wife Martha, and their son Ben are dead, while Debbie and her older sister Lucy have been abducted. After a brief funeral, the men set out in pursuit. When they find the Comanche camp, Ethan recommends a frontal attack, but Clayton insists on a stealth approach to avoid killing the hostages. The camp turns out to be deserted, and further along the trail, the men ride into an ambush. Despite fending off the attack, the Rangers are left with too few men to fight the Comanche effectively. They return home, leaving Ethan to continue his search for the girls with only Lucy's fiancé, Brad Jorgensen, and Debbie's adopted brother, Martin Pawley. Ethan finds Lucy brutally murdered and presumably raped in a canyon near the Comanche camp. In a blind rage, Brad rides directly into the camp and is killed. "I figure on gettin' myself un-surrounded," insists Captain Clayton (Ward Bond) to Ethan (John Wayne) as they realize they are caught in a trap and must run for their lives. When winter arrives, Ethan and Martin lose the trail and return to the Jorgensen ranch. Martin is enthusiastically welcomed by the Jorgensens' daughter Laurie, and Ethan finds a letter waiting for him from a trader named Futterman, who claims to have information about Debbie. Ethan, who would rather travel alone, leaves without Martin the next morning, but Laurie reluctantly provides Martin with a horse to catch up. At Futterman's trading post, Ethan and Martin learn that Debbie has been taken by Scar, the chief of the Nawyecka band of Comanches. A year or more later, Laurie receives a letter from Martin describing the ongoing search. In reading the letter aloud, Laurie narrates the next few scenes, in which Ethan kills Futterman for trying to steal his money, and Martin accidentally buys a Comanche wife who runs away when she hears Scar's name, later being among the dead when the two men find a portion of Scar's band killed by soldiers. Martin shields Ethan's niece to prevent Ethan from murdering her. In New Mexico, they find Debbie after five years, now an adolescent, living as one of Scar's wives. She says that she has become a Comanche and wishes to remain with them. Ethan would rather see her dead than living as a Native American, and tries to shoot her, but Martin shields her with his body and a Comanche wounds Ethan with an arrow as they escape. Although Martin tends to Ethan's wound, he is furious with him for attempting to kill Debbie. Later, they return home. Meanwhile, Charlie McCorry has been courting Laurie in Martin's absence. Ethan and Martin arrive home just as Charlie and Laurie's wedding is about to begin. After a fistfight between Martin and Charlie, a nervous Yankee soldier, Lt. Greenhill, arrives with news that Ethan's friend Mose Harper has located Scar. Clayton leads his men to the Comanche camp, this time for a direct attack, but Martin is allowed to sneak in ahead of the assault to find Debbie, who welcomes him. Martin kills Scar to save Debbie, and Ethan scalps him. Ethan then locates Debbie, and pursues her on horseback. Martin chases them desperately, fearing that Ethan will shoot her. Instead, Ethan sweeps her up into his arms and takes her to the Jorgensen ranch, where Martin reunites with Laurie. While everyone else enters the house, Ethan departs the homestead as he arrived, completely alone.

PATHS OF GLORY (Stanley Kubrick, 1957)

In 1916, during World War I, French General Georges Broulard asks his subordinate, General Paul Mireau, to take the Anthill, a well-defended German position. Mireau initially refuses, citing the impossibility of success. However, when Broulard mentions a potential promotion, Mireau quickly convinces himself the attack will succeed. At the trenches, Mireau throws a private out of the regiment for showing signs of shell shock. Mireau leaves the planning of the attack to Colonel Dax, despite Dax's protests that the only result of the attack will be to weaken the French Army with heavy losses for no benefit. Before the attack, drunken lieutenant Roget leads a night-time scouting mission, sending one of his two men ahead. Overcome by fear while waiting for the man's return, Roget lobs a grenade, accidentally killing the scout. Corporal Paris, the other soldier on the mission, confronts Roget, who denies any wrongdoing and falsifies his report to Colonel Dax. The next morning, the attack on the Anthill is a failure. Dax leads the first wave of soldiers over the top into no man's land under heavy fire. None of the men reach the German trenches, and B Company refuses to leave their own trench after seeing that violent defeat. Mireau, enraged, orders his artillery to open fire on them to force them onto the battlefield. The artillery commander refuses to fire without written confirmation of the order. Meanwhile, Dax returns to the trenches and tries to rally B Company to join the battle, but as he climbs out of the trench, the body of a dead French soldier knocks him down. At a meeting with Broulard and Dax, to deflect blame for the attack's failure, Mireau decides to court-martial 100 of the soldiers for cowardice. Enraged, Broulard orders Mireau to reduce the number. Mireau arrives at three, one from each company. Corporal Paris is chosen because his commanding officer Roget wishes to keep him from testifying about what happened in the scouting mission. Private Ferol is picked by his commanding officer because he is a "social undesirable". The last man, Private Arnaud, is chosen at random, despite having been cited for bravery twice previously. Dax, who was a criminal defense lawyer in civilian life, volunteers to defend the men at their court-martial. The trial, however, is a farce. There is no formal written indictment, a court stenographer is not present, and the court refuses to admit evidence that would support acquittal. In his closing statement, Dax denounces the proceedings. Nonetheless, the three are sentenced to death. The night before the execution, Dax confronts Broulard at a ball, with sworn statements by witnesses attesting to Mireau's order to shell his own trenches, in an attempt to blackmail the General Staff into sparing the three men. Broulard takes the statements but brusquely dismisses Dax. The next morning, the three men are taken out to be shot by firing squad. Dax, suspecting Roget for his nomination of Paris, forces Roget to lead the executions. While a sobbing Ferol is blindfolded, Paris refuses Roget's offer of a blindfold and reacts ambiguously to Roget's meek apology. Arnaud, meanwhile, is so badly injured after fighting in prison that he must be carried out in a stretcher and tied to the post. All three men are executed. Following the executions, Broulard breakfasts with the gloating Mireau. Broulard reveals he has invited Dax to attend and tells Mireau that he will be investigated for ordering to fire on his own men. Mireau storms out, protesting that he has been made a scapegoat. Broulard then blithely offers Mireau's command to Dax, assuming that Dax's attempts to stop the executions were a ploy to gain Mireau's job. Discovering that Dax was in fact sincere, Broulard rebukes him for his idealism, while the disgusted Dax calls Broulard a "degenerate, sadistic old man". After the execution, some of Dax's soldiers are carousing at an inn. They become more subdued as they listen to a captive German girl sing a sentimental folk song. Dax decides to leave without informing the men that they have been ordered to return to the front.

DAYS OF HEAVEN (Terrence Malick, 1978)

In 1916,[15] Chicago manual laborer Bill knocks down and kills a boss in the steel mill where he works, then flees to the Texas Panhandle with his girlfriend Abby and young sister Linda. Bill and Abby pretend to be siblings to prevent gossip. The three are hired as part of a large group of seasonal workers by a rich, shy farmer. Bill overhears a doctor telling the farmer he has only a year to live, although the nature of the illness is not specified. When the farmer falls in love with Abby, Bill encourages her to marry him so they can inherit his money. They thus marry and Bill stays as her "brother". The farmer's foreman suspects the scheme. The farmer's health unexpectedly remains stable, foiling Bill's plans. Eventually, the farmer discovers Bill's true relationship with Abby; meanwhile, Abby has begun to fall in love with her husband. When a locust swarm and fires destroy his wheat fields, the incensed farmer chases Bill with a gun, but Bill kills him with a screwdriver, then flees with Abby and Linda. The foreman and police pursue and eventually find them; Bill is shot and killed while running. Abby inherits the farmer's estate and leaves Linda at a boarding school. Abby leaves town on a train with soldiers departing for World War I. Linda runs away from school with a friend from the farm.

THE TREASURE OF THE SIERRA MADRE (John Huston, 1948)

In 1925, in the Mexican town of Tampico, labor contractor Pat McCormick recruits Fred C. Dobbs and Bob Curtin, two broke American drifters, as roughnecks to help construct oil rigs for $8 per day. When the project is completed and the men return to Tampico, McCormick skips out without paying them. The two vagrants encounter an old man named Howard in a flophouse. A loquacious ex-miner, he talks to them about gold prospecting and the perils of striking it rich. Dobbs and Curtin run into McCormick at a cantina, and collect their back wages after a bar fight. When Dobbs hits a small jackpot in the lottery, he, Curtin and Howard have enough money to buy supplies to go prospecting in the interior. Departing Tampico by train, the three help repulse a bandit attack led by "Gold Hat". North of Durango, the trio heads into the remote Sierra Madre mountains. Howard proves to be the hardiest and most knowledgeable of the three. After several days of arduous travel, he spots gold the others had missed. The men toil under harsh conditions and amass a fortune in placer gold. But as the gold piles up, Dobbs becomes increasingly distrustful of the other two. The men agree to divide the gold dust immediately and hide their shares. On a supply trip to Durango, Curtin is spotted making purchases by a Texan named Cody. Cody secretly follows Curtin back to the encampment. When he confronts the three men, they lie about what they are doing there, but he is not fooled. He boldly proposes to join their outfit and share in any future takings. Howard, Curtin and Dobbs discuss it and vote to kill him. As they announce their verdict, pistols in hand, Gold Hat and his bandits arrive. They claim to be Federales. After a tense parley, a gunfight ensues, and Cody is killed. A genuine troop of Federales suddenly appears and pursues Gold Hat and his gang. The three prospectors examine Cody's personal effects. A loving letter from his wife reveals that he was trying to provide for his family. Moved by the letter, Howard and Curtin agree to give part of their share to Cody's family, but Dobbs declines to do the same. Howard is called away to assist local villagers with a seriously ill little boy. When the boy recovers, the next day, the villagers insist that Howard return with them to be honored. Howard leaves his goods with Dobbs and Curtin and says he will meet them later. Dobbs and Curtin constantly argue until one night when Dobbs shoots Curtin and takes all the gold. Curtin survives, crawling away and hiding during the night. Finding Curtin gone, Dobbs flees but is ambushed at a waterhole by Gold Hat and his men. They first toy with him, then kill him. The bandits mistake the bags of gold dust for sand and dump them, taking only the burros and supplies. The gold is scattered by the strong wind. Curtin is discovered by Indios and taken to Howard's village, where he recovers. Gold Hat's gang tries to sell the stolen burros in town, but a child recognizes the brands on them (and Dobbs's clothes, which the bandits are wearing) and reports them to the authorities. The bandits are captured and summarily executed by the Federales. Howard and Curtin return to Durango in a dust storm hoping to reclaim their gold, only to find empty bags. At first shaken by the loss, they then grasp the immense irony of their circumstances, and burst into laughter. Howard decides to return to the village to accept an offer of a permanent home and a position of honor, and Curtin sells their recovered property to return to the U.S., where he will seek out Cody's widow. As Curtin leaves, another empty bag is seen lying next to a cactus.

SPLENDOR IN THE GRASS (Elia Kazan, 1961)

In 1928 Kansas, teenagers Wilma Dean "Deanie" Loomis and her boyfriend, Bud Stamper, want a more physically intimate relationship, but heed the advice of their parents not to become more involved for the sake of Deanie's reputation and Bud's future plans for college. Bud's sister, Ginny, a flapper, is more worldly, having returned from Chicago after an annulment and rumors of an abortion to the disappointment and shame of her parents, Mr. and Mrs. Ace Stamper. Soon, Bud rescues Ginny from an attempted rape at a New Year's Eve party, but disturbed by what he has seen, tells Deanie they should stop fooling around, and they break up. Bud has a liaison with a friend named Juanita. Shortly afterward, Deanie explodes in anger when her mother asks if Deanie is still a virgin. Allen "Toots" Tuttle takes Deanie to a school dance where she sees Bud, and tries to entice him into having sex. Bud rebuffs her and Deanie runs back to Toots, who drives her to a private spot. While there, Deanie realizes that she can't go through with sex, at which point she is almost raped. Escaping from Toots and driven close to madness, she attempts to commit suicide by jumping in the pond, but is rescued just before reaching the waterfalls. Her parents sell their oil stock to pay for her institutionalization, and fortuitously turn a profit prior to the Crash of 1929 that leads to the Great Depression. While Deanie is in the institution, she meets another patient, Johnny Masterson, who has anger issues targeted at his parents, who want him to be a surgeon. The two patients form a bond. Meanwhile, Bud is sent to Yale, where he fails practically all his courses but meets Angelina, the daughter of Italian immigrants who run a local restaurant in New Haven. In October 1929, Bud's father Ace travels to New Haven in an attempt to persuade the dean not to expel Bud from school; Bud then tells the dean he only aspires to own a ranch. The stock market crashes while Ace is in New Haven, and he loses almost everything. He takes Bud to New York for a weekend, including to a cabaret nightclub, then Ace commits suicide by jumping from a building - something he had been joking about just a short time earlier - and sadly, Bud must identify the body. Deanie returns home from the asylum after two years and six months, "almost to the day." Ace's widow has gone to live with relatives, and Bud's sister has died in a car crash. Deanie's mother wants to shield her from any potential anguish from meeting Bud, so she pretends to not know where he is. When Deanie's friends from high school come over, her mother gets them to agree to feign ignorance on Bud's whereabouts. However, Deanie's father refuses to coddle his daughter and tells her that Bud has taken up ranching and lives on the old family farm. Her friends drive Deanie to meet Bud, at an old farmhouse. He is now dressed in plain clothes and married to Angelina; they have an infant son named Bud Jr. and another child on the way. Deanie lets Bud know that she is going to marry John (who is now a doctor in Cincinnati). During their brief reunion, Deanie and Bud realize that both must accept what life has thrown at them. Bud says, "What's the point? You gotta take what comes." They each relate that they "don't think about happiness very much anymore."[3] As Deanie leaves with her friends, Bud only seems partially satisfied by the direction his life has taken. After the others are gone, he reassures Angelina, who has realized that Deanie was once the love of his life.[3] Driving away, Deanie's friends ask her if she is still in love with Bud. She does not answer them, but her voice is heard reciting four lines from Wordsworth's "Intimations of Immortality": "Though nothing can bring back the hour Of splendor in the grass, glory in the flower We will grieve not; rather find Strength in what remains behind."

THE DAMNED (Luchino Visconti, 1969)

In 1930s Germany, the Essenbecks are a wealthy and powerful industrialist family who have begun doing business with the newly elected Nazi Party. On the night of the Reichstag fire in early 1933, the family's conservative patriarch, Baron Joachim von Essenbeck, who represents the old aristocratic Germany and detests Adolf Hitler, is celebrating his birthday. The celebration features the family's children performing for the Baron, his family and guests on a makeshift stage. While grandnephew Günther performs a piece of music on his cello, grandson Martin performs a drag performance that is interrupted by news that the Reichstag has been burned. Martin's possessive mother (and Joachim's widowed daughter-in-law), Sophie, has been secretly carrying on a longstanding affair with Friedrich Bruckmann, an executive of the family's steelworks. Her father-in-law tacitly demands that Sophie never remarry and both fear that if their relationship were to be exposed, Sophie would be disowned and Friedrich fired. Friedrich is friendly with a cousin of Sophie's dead husband, an SS leader named Aschenbach.[b] Aschenbach is aware that Friedrich seeks the title of Baron; he is also aware that the Baron has split control over the company in his will: his unscrupulous nephew, the boorish SA officer Konstantin, will inherit the company but Martin will inherit enough shares of stock to give him de facto control over the direction the company takes. Acting on Aschenbach's previous statements that things would be better if the anti-Nazi Joachim was to die, Friederich kills Joachim and frames the outspoken Herbert Thalmann for the crime by using his personal handgun secured by Sophie. Herbert narrowly escapes abroad, but in his haste is forced to leave behind his wife and children. When his wife, Elizabeth, visits Sophie for help clearing her husband's name, Sophie denounces her by telling her that the Germany of old is dead. Sophie seemingly makes arrangements for Elizabeth and her daughters to join Herbert in exile and they are depicted reaching a train station, but it is later revealed that they are actually arrested and sent to Dachau, characterized in the film as an internment camp. Aschenbach convinces Friedrich and Martin to embargo their company from selling weapons to the SA, as the SS is seeking to marginalize the rival group in order to encourage the Reichswehr's generals to go over to Hitler's side. Konstantin discovers that Martin has been sexually abusing his nieces and also Lisa Keller, a poor Jewish girl, who eventually commits suicide after Martin assaults her one night before visiting his girlfriend. Armed with this information, Konstantin blackmails Martin to resume providing the SA guns and ammunition and sends a letter detailing his crimes to Sophie so that she will get Friedrich to help provide cover for Martin in defying the SS. Hiding in the family's attic, Martin is confronted by Sophie, who agrees to help free Martin from Konstantin's blackmail. Sophie meets up with Aschenbach, who reveals that Hitler is planning on purging the SA and offers to destroy Konstantin's blackmail dossier for a future favor. In 1934, the SA - Konstantin among them - have a meeting at a hotel in Bad Wiessee to discuss their dissatisfaction with Hitler. The evening is depicted as a drunken celebration, ending with the male SA officers engaging in gay sex with one another. At dawn, the hotel is stormed by SS troops who slaughter various SA members. Konstantin is personally executed by Friedrich, whom Aschenbach brought along for the slaughter to ensure Konstantin's death. Friedrich is now in charge of the family business, but Aschenbach is confronted by Sophie who demands that her father's last name and royal title of Baron be assigned to Friedrich so they can marry as equals. Aschenbach refuses and reminds Sophie that the Nazis want control over the steel and munitions business and will take it by force if the couple won't become willing servants to the Nazi Party. Meanwhile, Martin becomes furious as he realizes that the last remaining barriers keeping his mother from remarrying are gone and that Friedrich intends to take control over the family business for himself. Aschenbach offers Martin the destruction of his mother and her lover, after Martin confesses his hatred for them to Aschenbach. During a family dinner, Friedrich and Aschenbach start arguing after Friedrich announces that Aschenbach, Günther, and Martin must submit themselves to the will and whims of the new head of the family. Aschenbach denounces Friedrich as a weak social climber and disloyal Nazi, as he brings a returning Herbert to the chamber. Herbert reveals that after Sophie arranged their arrest, Elizabeth and their children were sent to Dachau concentration camp, where Elizabeth died. Aschenbach has offered to free Herbert's children in exchange for Herbert's false confession to Joachim's death, though it's left ambiguous whether or not Aschenbach carries out his side of the bargain. He also reveals that Friedrich killed Konstantin (implying that Konstanin's role in the SA purge was covered up and his death reported as a random murder), turning Günther against Friedrich and radicalizes him to the Nazi cause. Martin afterwards sexually assaults his mother, who subsequently falls into a catatonic state much to Friedrich's horror. Now a part of the SS, Martin allows Friedrich, who by decree has inherited the name and title of von Essenbeck, to wed his mother before ordering the two to take cyanide capsules, which they willingly consume, killing them both. Aschenbach, who now has complete control over Martin, becomes the effective heir to the von Essenbeck steelworks, leaving the empire under Nazi control.

CABARET (Bob Fosse, 1972)

In 1931 Berlin, a young, openly promiscuous American Sally Bowles performs at the Kit Kat Klub. A new British arrival in the city, Brian Roberts, moves into the boarding house where Sally lives. A reserved academic and writer, Brian must give English lessons to earn a living while completing his doctorate. Sally tries to seduce Brian, but he tells her that on three previous occasions he has tried to have sexual relationships with women, all of which failed. They become friends, and Brian witnesses Sally's bohemian life in the last days of the Weimar Republic. When Brian consoles Sally after her father cancels his meeting with her, they become lovers, concluding that his previous failures with women were because they were "the wrong three girls". Maximilian von Heune, a rich, married playboy and baron, befriends Sally and takes her and Brian to his country estate where they are both spoiled and courted. After a somewhat enigmatic experience with Brian, Max drops his pursuit of the pair in haste. During an argument, Sally tells Brian that she has been having sex with Max, and Brian reveals that he has as well. Brian and Sally later reconcile, and Sally reveals that Max left them 300 marks and mockingly compares the sum with what a professional prostitute earns. Sally learns that she is pregnant but is unsure of the father. Brian offers to marry her and take her back to his university life in Cambridge. At first, they celebrate their resolution to start this new life together, but after a picnic between Sally and Brian, in which Brian acts distant and uninterested, Sally becomes disheartened by the vision of herself as a bored faculty wife washing dirty diapers. Ultimately, she has an abortion, without informing Brian in advance. When he confronts her, she shares her fears, and the two reach an understanding. Brian departs for England, and Sally continues her life in Berlin, embedding herself in the Kit Kat Klub. A subplot concerns Fritz Wendel, a German Jew passing as a Protestant, who is in love with Natalia Landauer, a wealthy German Jewish heiress who holds him in contempt and suspects his motives. Through Brian, Sally advises him to be more aggressive, which eventually enables Fritz to win her love. However, to gain her parents' consent for their marriage, Fritz must reveal his background, which he does and the two are married by a rabbi. The rise of fascism is an ever-present undercurrent throughout the film. Their progress can be tracked through the characters' changing actions and attitudes. While in the beginning of the film, a Nazi is expelled from the Kit Kat Klub, the final shot of the film shows the cabaret's audience is dominated by uniformed Nazis. The rise of the Nazis is also demonstrated in a rural beer garden scene. A blonde boy sings to an audience of all ages ("Tomorrow Belongs to Me") about the beauties of nature and youth. It is revealed that the boy is wearing a Hitler Youth uniform. The ballad transforms into a militant Nazi anthem, and one by one nearly all the adults and young people watching rise and join in the singing. "Do you still think you can control them?" Brian asks Max. Later, Brian's confrontation with a Nazi on a Berlin street leads to his being beaten.

ONCE UPON A TIME IN AMERICA (Sergio Leone, 1984)

In 1933, three thugs search for a man named "Noodles", torturing people for information. They enter a wayang theater, where the proprietors slip into a hidden opium den within the building and warn Noodles. He is apathetic, drugged and grasping a newspaper featuring the demise of bootleggers Patrick Goldberg, Philip Stein and Maximilian Bercovicz. He recalls observing police removing their corpses, Max's burned beyond recognition. Noodles evades capture and leaves the city alone and penniless. In 1918, David "Noodles" Aaronson and his friends "Patsy" Goldberg, "Cockeye" Stein and Dominic struggle as street kids in Manhattan's Lower East Side, committing petty crimes for local boss Bugsy. Max foils one of their robberies but has the booty stolen from him by a corrupt police officer, Whitey. Later, they blackmail the officer, catching him having sex with Peggy, a prostitute, and the five youngsters start a gang with the same level of police protection as Bugsy. Max and Noodles become best friends. The group rises through the ranks after implementing Noodles' idea to hide bootleg liquor. They stash half their earnings in a railway station locker, giving the key to "Fat Moe", a friend not directly involved in their activities. Noodles is in love with Moe's sister, Deborah, who dreams of becoming a dancer and actress. Bugsy, now a rival, eventually ambushes the boys and shoots Dominic, who dies in Noodles' arms. In a fit of rage, Noodles kills Bugsy and injures a police officer, and is sentenced to prison. Noodles is released in 1930 and rejoins his friends, now prosperous bootleggers during Prohibition. His first job with them is a diamond heist using a jewelry employee and occasional prostitute named Carol as their informant. During the robbery, Carol goads Noodles into hitting her, after which he rapes her; she later goes on to become Max's moll. That the job had been commissioned by a Syndicate figure to eliminate the competition sits badly with Noodles who, unlike Max, dislikes hierarchy and lacks political ambition. The gang provides protection for Teamsters' union boss Jimmy O'Donnell, but Noodles later rejects Max's plan to deepen those ties. Seeking to form a genuine intimacy with Deborah, Noodles takes her on a lavish date, where she reveals her plans to pursue a career in Hollywood. On their drive back, a frustrated Noodles rapes her in the limousine. He is later met with Deborah's aloofness when he watches her board the train to California. The gang's success ends with the 1933 repeal of Prohibition. Max suggests a New York Federal Reserve Bank heist, which Noodles and Carol deem a suicide mission. Carol convinces Noodles to inform the police about a lesser offense, hoping brief incarceration will cool off Max's ambition. After Noodles calls the police, Max knocks him out during a seemingly impromptu argument. This leads to the events shown in the prologue: upon regaining consciousness and learning that Max, Patsy, and Cockeye have been killed by the police, a guilt-ridden Noodles hides in the opium den. He saves Moe but finds out that his new girlfriend Eve has been murdered and the railway locker money has disappeared. With his gang killed and himself hunted by Syndicate thugs, Noodles settles in Buffalo under an alias. In 1968, Noodles is belatedly informed that the Beth Israel Cemetery is being redeveloped, and asked to rebury any loved ones. Upon inquiry, the rabbi who had sent the letter informs him that the bodies of his three dead friends have since been relocated to Riverdale. Realizing that someone has deduced his identity, Noodles returns to Manhattan and stays with Moe. Inside the Riverdale mausoleum, Noodles finds a key to the railway locker. The caption on the commemorative plaque falsely states that the mausoleum was erected by Noodles himself. The locker reveals a suitcase full of money, and a note stating this is a downpayment on his next job. Noodles watches news of an assassination attempt on controversial U.S. Secretary of Commerce Christopher Bailey. The report shows Jimmy O'Donnell, still a Teamsters boss, distancing himself from the Bailey corruption scandal. Noodles finds Carol in a retirement home run by the Bailey Foundation. She tells him that Max manipulated them into tipping him off to the police and opened fire first, wishing to die young rather than in an insane asylum like his father. After spotting her in the retirement home's dedication photo, Noodles tracks down Deborah, still an actress.[a] He tells her about his invitation to a party at Bailey's mansion. Deborah admits to being Bailey's lover and begs Noodles to leave before he is confronted with hurtful revelations. Ignoring Deborah's advice, Noodles sees Bailey's son just outside, who evidently looks like a younger Max. At the party, Noodles meets Bailey, who reveals he is actually Max and that he faked his death with the help of the police and Syndicate, stole the gang's money and reinvented himself as a self-made, Teamsters-connected politician. He confirms that he made Deborah his mistress years earlier. Faced with ruin and the specter of a Teamster assassination, Max reveals the job he has for Noodles is to kill him. Noodles, obstinately referring to him by his Bailey identity, refuses, explaining that in his eyes, Max died with the gang. As Noodles leaves the estate, a garbage truck starts up and a man, presumably Max, walks from the entrance toward Noodles until the truck passes between them. Noodles sees the truck's auger conveyor grinding garbage, but the man is nowhere to be seen. The epilogue returns to 1933 with Noodles entering the opium den after his friends' deaths, taking the drug and broadly grinning.

PORTRAIT OF JENNIE (William Dieterle, 1948)

In 1934, impoverished painter Eben Adams (Joseph Cotten) meets a fey little girl named Jennie Appleton (Jennifer Jones) in Central Park, Manhattan. She is wearing old-fashioned clothing. He makes a sketch of her from memory which involves him with art dealer Miss Spinney (Ethel Barrymore), who sees potential in him. This inspires him to paint a portrait of Jennie. Eben again encounters Jennie at intermittent intervals. Strangely, she appears to be growing up much more rapidly than is humanly possible. He soon falls madly in love with her, but is puzzled by the fact that she seems to be experiencing events that he discovers took place many decades previously, as if they had just happened. Eventually he learns the mysterious truth about Jennie and though inevitable tragedy ensues, she continues to be an inspiration to Eben's life and art, and his career makes a remarkable upturn, commencing with his most famous Portrait of Jennie.

IN THE REALM OF THE SENSES (Nagisa Oshima, 1976)

In 1936 Tokyo, Sada Abe is a former prostitute who now works as a maid in a hotel. The hotel's owner Kichizo Ishida molests her, and the two begin an intense affair that consists of sexual experiments and various self-indulgences. Ishida leaves his wife to pursue his affair with Sada. Sada becomes increasingly possessive and jealous of Ishida, and Ishida more eager to please her. Their mutual obsession escalates until Ishida finds that she is most excited by strangling him during lovemaking, and he is killed in this fashion. Sada then severs his penis. While she is shown next to him naked, it is mentioned that she will walk around with his penis inside her for several days. Words written with blood can be read on his chest: "Sada Kichi the two of us forever."

RAIDERS OF THE LOST ARK (Steven Spielberg, 1981)

In 1936, American archaeologist Indiana Jones recovers a Golden Idol from a booby-trapped Peruvian temple. Rival archaeologist René Belloq corners him and steals the idol; Jones escapes in a waiting seaplane. After returning to the United States, Jones is briefed by two Army Intelligence agents that Nazi German forces are excavating at Tanis, Egypt, and one of their telegrams mentions Jones' former mentor Abner Ravenwood. Jones deduces that the Nazis are seeking the Ark of the Covenant, which Adolf Hitler believes will make their army invincible. The agents recruit Jones to recover the Ark first. At a bar in Nepal, Jones reunites with Ravenwood's daughter Marion, with whom Jones once had an illicit relationship, and learns that Ravenwood is dead. The bar is set ablaze during a scuffle with Gestapo agent Arnold Toht, who arrives to take a medallion from Marion. Toht attempts to recover the medallion from the flames, but only burns its image into his hand. Jones and Marion take the medallion and escape. Traveling to Cairo, the pair meet Jones's friend Sallah. Sallah reveals Belloq is assisting the Nazis, who have fashioned an incomplete replica medallion from the burns on Toht's hand. Nazi soldiers and mercenaries attack Jones, and Marion is seemingly killed, leaving Jones despondent. An imam deciphers the medallion for Jones, revealing that one side bears a warning against disturbing the Ark, and the other bears the correct measurements for the "staff of Ra", an item used to locate the Ark. Jones and Sallah realize that the Nazis are digging in the wrong location, infiltrate the Nazi dig site, and use the medallion and the correctly-sized staff of Ra to locate the Well of Souls, the Ark's resting place. They recover the Ark, a golden, intricately decorated chest, but Belloq and the Nazis discover them and seize it. Jones and Marion, whom Belloq has held captive, are sealed inside the well, but the pair escape and Jones captures a truck carrying the Ark. Alongside Marion, Jones arranges to transport the Ark to London aboard a tramp steamer. A German U-boat intercepts the steamer and seizes the Ark and Marion; Jones covertly boards the U-boat. The vessel travels to an island in the Aegean Sea, where Belloq intends to test the power of the Ark before presenting it to Hitler. On the island, Jones ambushes the Nazi group and threatens to destroy the Ark, but surrenders after Belloq deduces that Jones would never destroy something so historically significant, also surmising that Jones wants to know if the Ark's power is real. The Nazis restrain Jones and Marion at the testing site as Belloq ceremonially opens the Ark but finds only sand inside. At Jones' instruction, he and Marion close their eyes to avoid looking at the opened Ark, as it releases spirits, flames, and bolts of energy that kill Belloq, Toht, and the assembled Nazis before sealing itself shut. Jones and Marion open their eyes to find the area cleared of bodies and their bindings removed. Back in Washington, D.C., the United States government rewards Jones for securing the Ark. Despite Jones' insistence, the agents state only that the Ark has been moved to an undisclosed location for "top men" to study. In a large warehouse, the Ark is crated up and stored among countless other crates.

COME AND SEE (Elem Klimov, 1985)

In 1943, two Belarusian boys dig in a sand-filled trench looking for abandoned rifles in order to join the Soviet partisan forces. Their village elder warns them not to dig up the weapons as it would arouse the suspicions of the occupying Germans. One of the boys, Flyora, finds an SVT-40 rifle. The boys' activities are noticed by an Fw 189 reconnaissance aircraft, flying overhead. A Focke-Wulf Fw 189. A single reconnaissance aircraft of this model repeatedly appears in scenes flying above Flyora's head throughout Come and See The next day two partisans arrive at Flyora's house, to conscript him. Flyora becomes a low-rank militiaman and is ordered to perform menial tasks. When the partisans are ready to move on, the commander, Kosach, says that Flyora is to remain behind at the camp. Bitterly disappointed, Flyora walks into the forest weeping and meets Glasha, a girl working as a nurse for the partisans, and the two bond before the camp is suddenly attacked by German paratroopers and dive bombers. Flyora is partially deafened from the explosions before the two hide in the forest to avoid the German soldiers. Flyora and Glasha travel to his village, only to find his home deserted and covered in flies. Denying that his family is dead, Flyora believes that they are hiding on a nearby island across a bog. As they run from the village in the direction of the bogland, Glasha glances across her shoulder, seeing a pile of executed villagers' bodies stacked behind a house, but does not alert Flyora. The two become hysterical after wading through the bog, where Glasha then screams at Flyora that his family is actually dead in the village, resulting in the latter attempting to drown her. They are soon met by Rubezh, a partisan fighter, who takes them to a large group of villagers who have fled the Germans. Flyora sees the village elder, badly burnt by the Germans, who tells him that he witnessed his family's execution and that he should not have dug up the rifles. Flyora, hearing this, attempts suicide out of guilt, but Glasha and the villagers save and comfort him. Rubezh takes Flyora and two other men to find food at a nearby warehouse, only to find it being guarded by German troops. During their retreat, the group unknowingly wanders through a minefield resulting in the deaths of the two companions. That evening Rubezh and Flyora sneak up to an occupied village and manage to steal a cow from a collaborating farmer. As they escape across an open field, Rubezh and the cow are shot and killed by a German machine gun. The next morning, Flyora attempts to steal a horse and cart, but the owner catches him and instead of doing him harm, he helps hide Flyora's identity when SS troops approach. Flyora is taken to the village of Perekhody, where they hurriedly discuss a fake identity for him, while an SS Einsatzkommando unit, accompanied by collaborators from the Russian Liberation Army and Schutzmannschaft Batallion 118, surround and occupy the village. Flyora tries to warn the townsfolk as they are being herded to their deaths, but is forced to join them inside a wooden church. Flyora and a young woman are allowed to escape the church, but the latter is dragged by her hair into a truck to be gang raped. Flyora is forced to watch as several Molotov cocktails and grenades are thrown onto and within the church before it is further set ablaze with a flamethrower as other soldiers shoot into the building. A German officer points a gun to Flyora's head to pose for a picture before leaving him to slump to the ground as the soldiers leave. These two photos (Klara; left, and Adolf; right) were merged by Klimov to create the picture that Flyora stops shooting at Flyora later wanders out of the scorched village in the direction of the Germans, where he discovers they had been ambushed by the partisans. After recovering his jacket and rifle, Flyora comes across the girl who was dragged off by SS soldiers in a fugue state, her legs and face covered in blood after having been gang-raped and brutalized by the soldiers. Flyora returns to the village and finds that his fellow partisans have captured eleven of the Germans and their collaborators, including the commander, an SS-Sturmbannführer. While some of the captured men including the commander and main collaborator plead for their lives and deflect blame, a young fanatical officer, an Obersturmführer, is unapologetic and vows they will carry out their genocidal mission. Kosach makes the collaborator douse the Germans with a can of petrol brought there by Flyora, as a runner approaches bearing a torch lit from the burning village, but the disgusted crowd shoots them all before they can be set on fire. As the partisans leave, Flyora notices a framed portrait of Adolf Hitler in a puddle and proceeds to shoot it numerous times. As he does so, a montage of clips from Hitler's life play in reverse, but when Hitler is shown as a baby on his mother's lap, Flyora stops shooting and cries. A title card informs: "628 Belorussian villages were destroyed, along with all their inhabitants."[10] Flyora rushes to rejoin his comrades, and they march through the birch woods as snow blankets the ground.

IMITATION OF LIFE (Douglas Sirk, 1959)

In 1947, single mother Lora Meredith dreams of becoming a famous Broadway actress. Losing track of her young daughter Susie at a crowded Coney Island beach, she asks a stranger, Steve Archer, to help her find the girl. Meanwhile, Susie has been found and looked after by Annie Johnson, who is also a single mother with a daughter, Sarah Jane, who is about Susie's age. With the help of Steve and a police officer, Lora is reunited with Susie. The Merediths are white and the Johnsons are black, but Lora initially assumes Sarah Jane is white and not Annie's daughter. Sarah Jane's fair skin allows her to pass as white and she fervently rejects being identified as black. In return for Annie's kindness, Lora temporarily takes in Annie and her daughter. Annie persuades Lora to let her stay and look after the household so that she can pursue an acting career. Lora becomes a star of stage comedies, with Allen Loomis as her agent and David Edwards as her chief playwright (and lover). Although Lora had begun a relationship with Steve, their courtship falls apart because he does not want her to be a star. Lora's concentration on her career prevents her from spending time with Susie, who sees more of Annie. Annie and Sarah Jane have their own problems, as Sarah Jane is struggling with her identity. Eleven years later, Lora is a highly regarded Broadway star living in a luxurious home near New York City. Annie continues to live with her, serving as nanny, housekeeper, confidante, and best friend. After rejecting David's latest script (and his marriage proposal), Lora takes a role in a dramatic play. At the show's after-party, she encounters Steve, whom she has not seen in a decade. The two slowly begin rekindling their relationship, and Steve is reintroduced to Annie, and the now-teenaged Susie and Sarah Jane. When Lora is signed to star in an Italian movie she leaves Steve to watch after Susie. The teenager develops an unrequited crush on her mother's boyfriend. Sarah Jane (Susan Kohner) and Annie. Sarah Jane begins dating a white teenager, but he beats her in an alleyway after learning she is black. Some time later, she again passes for white to get a job performing at a seedy nightclub, but tells her mother she is working at the library. When Annie learns the truth, she goes to the club to claim her daughter; Sarah Jane is subsequently fired. Sarah Jane's rejection of her mother takes a physical and mental toll on Annie. When Lora returns from Italy, Sarah Jane has run away from home, leaving Annie a note that says if she truly does care about her, she will leave her alone and let her live her life. Lora asks Steve to hire a private detective to find Sarah Jane. The detective finds her living and working in California as a white woman under an assumed name. Annie, becoming weaker and more depressed by the day, flies out to see her daughter one last time and say goodbye. Upon meeting with Sarah Jane, Annie apologizes for being selfish by loving her too much and wishes her the best. Annie pleads to Sarah Jane that if she ever needs help, she will reach out to her, and the two share an embrace. Sarah Jane's roommate interrupts them and presumes Annie is a maid. Annie tells the roommate that she is a former nanny of "Miss Linda," Sarah Jane's new name. Annie is bedridden upon her return to New York and Lora and Susie look after her. The issue of Susie's crush on Steve becomes serious when Susie learns that Steve and Lora are to be married. Annie tells Lora of the girl's crush. After a confrontation with her mother, Susie decides to go away to school in Denver to forget about Steve. Soon after their argument, Annie dies with Lora crying hysterically by her side. As she wished, Annie is given a lavish funeral in a large church, complete with a gospel choir, followed by an elaborate traditional funeral procession with a band and four white horses drawing the hearse. Just before the procession sets off, a bereaved and guilt-ridden Sarah Jane pushes through the crowd of mourners to throw herself upon her mother's casket apologizing and begging for her mother's forgiveness, proclaiming "I killed my own mother!" Lora takes Sarah Jane to their limousine to join her, Susie, and Steve as the procession slowly travels through a city street. A large African American crowd silently watch.

SOME CAME RUNNING (Vincente Minnelli, 1958)

In 1948, Dave Hirsh is a cynical Army veteran who winds up in his hometown of Parkman, Indiana, after being put on a bus in Chicago while intoxicated. Ginny Moorehead, a woman of seemingly loose morals and poor education, was invited by Dave in his drunken state to accompany him to Parkman. When Dave sobers up, he realizes it was a mistake, and gives her money to return to Chicago. However, she decides to stay because she has fallen in love with Dave and is also trying to avoid a violent boyfriend in Chicago. Dave left 16 years before and had a career as a writer before the war, publishing two books. He did not stay in touch with his older brother, Frank, because of how Frank and his wife Agnes treated him when he was a child. Frank, who was newly married to the well-off Agnes, had placed Dave in a charity boarding school rather than take him to live in his home. Frank has since inherited a jewelry business from Agnes' father, sits on the board of a local bank, and is active in civic affairs. Frank and Agnes are very concerned about their social status and reputation in the town, which is threatened when Dave returns without letting them know and then deposits $5,500 ($60,704 in 2021) in the bank that competes with Frank's bank. Frank attempts to make amends with Dave in order to get him to move the bank deposit. Agnes wants nothing to do with Dave, but is forced to welcome him after two of her wealthy social acquaintances, Professor French and his daughter Gwen, a schoolteacher who teaches creative writing, ask to meet Dave because they admire his books. When Dave meets Gwen, he immediately falls in love with her. She is attracted to him as well, but is afraid of the passionate feelings he arouses in her and of his lifestyle. Each time Gwen rejects him, he ends up back with Ginny, even though her lack of intelligence frustrates him and she is nothing like Gwen. Dave has also befriended a hard-partying but good-hearted gambler, Bama Dillert, and the two get into trouble when Ginny's ex-boyfriend, a gangster named Ray, comes to town stalking her. Dave proposes to Gwen, and she tries to reject him, but her passion is stirred as she falls into his arms. Frank is upset because Dave's lifestyle reflects badly on him. However, Dave is shown to be a good man despite his notorious reputation when he treats Ginny with kindness and takes a fatherly interest in his niece, Frank's daughter Dawn, who becomes upset and tries to run away when she sees her father in a romantic rendezvous with his secretary, Edith. With Gwen's encouragement and help in editing, Dave gets a new story published in The Atlantic magazine. Gwen confesses her love to Dave by telephone while he is on a gambling trip with Bama and Ginny. Gwen's phone call leads the gamblers to think Dave is cheating at cards, triggering a fight in which Bama is stabbed. During his hospital stay, Bama is informed he has diabetes, but chooses to disregard medical advice, especially about his incessant drinking. Ginny visits Gwen at her school to ask if Gwen and Dave are in a relationship and confess her own love for Dave. Gwen is horrified to discover Dave has been seeing Ginny, assures Ginny that there is nothing between her and Dave, and then cuts Dave off. Dave, at the end of his rope from Gwen's rejection, decides to marry Ginny, even over Bama's objections. While she is not Dave's social or intellectual match, Dave recognizes that she gives him unconditional love that he's never had from anyone else. The two marry that night, but soon after they leave the judge's house, while walking among the crowds of the town's fair, Ray comes after them with a gun, shoots and injures Dave who falls to the ground, and then fatally shoots Ginny as she leaps upon Dave's fallen body to protect him from Ray's bullets. Dave places Ginny's lifeless head on the pillow she treasured as his first gift to her. At Ginny's funeral, Professor French and a tearful Gwen, distraught at her role in the tragedy, attend the solemn occasion. Ashamed of his callous treatment of Ginny, a sorrowful Bama removes his hat, which he has never previously done in a token of respect for her tragic heroism.

A PLACE IN THE SUN (George Stevens, 1951)

In 1950, George Eastman, the poor nephew of rich industrialist Charles Eastman, arrives in town following a chance encounter with his uncle while working as a bellhop in Chicago. Although George is regarded as an outsider by the Eastmans, Charles offers George an entry-level job at his factory. George starts dating fellow factory worker Alice Tripp in defiance of the workplace rules. Alice is a poor and inexperienced girl who is dazzled by George and slow to believe that his Eastman name brings him no advantages. Over time, George begins a slow move up the corporate ladder and is invited by Charles to a social event, where George meets and falls for socialite Angela Vickers, who is also attracted to him. They fall in love. Just as George enters the intoxicating and care-free lifestyle his new life with Angela brings, Alice announces she is pregnant and, unable to procure an abortion, expects George to marry her. George puts Alice off and continues spending more time with Angela without Alice's knowledge. George is invited to Angela's family lake house over Labor Day and tells Alice the visit will advance his career. Alice discovers George's lie after seeing a newspaper photograph of George and Angela boating with friends. Alice calls George at the Vickers home and threatens to come there and reveal herself unless he leaves and returns to her. Shaken, George tells his hosts his mother is sick and he must leave. The next morning, George and Alice drive to City Hall to get married but it is closed for Labor Day. George is relieved and, remembering Alice cannot swim, begins forming a plan to drown her in the lake by feigning an accident. Alice unsuspectingly agrees to the lake venture. Arriving at the lake, George attempts to cover for the upcoming murder by falsely stranding his car in the woods and renting a rowboat under a false name. While they are out on the lake, Alice talks about her dreams concerning their happy future together with their child. As George apparently takes pity on her, Alice tries to stand up in the boat, causing it to capsize, and Alice drowns. George escapes, swims to shore, behaves suspiciously when he comes across campers on his way back to the car, and eventually drives to the Vickers' lodge. He fails to report the accident. Alice's body is discovered and her death is treated as a homicide as the evidence against George begins to mount. Just as Angela's father approves Angela's marriage to him, George is arrested and charged with Alice's murder. George's furtive actions before and after Alice's death condemn him. His denials are futile, and he is found guilty of murder and sentenced to death in the electric chair. Near the end, he agrees when the priest suggests that, although he did not kill Alice, he did not act to save her because he was thinking of Angela. The priest then states that, in his heart, it was murder. Angela visits George in prison, saying that she will always love him, and George slowly marches toward his execution.

MY NEIGHBOUR TOTORO (Hayao Miyazaki, 1988)

In 1950s Japan, university professor Tatsuo Kusakabe and his daughters Satsuki and Mei (approximately ten and four years old, respectively) move into an old house close to the hospital where the girls' mother Yasuko is recovering from a long-term illness. The house is inhabited by small, dark, dust-like house spirits called susuwatari, which can be seen when moving from bright places to dark ones.[note 1] When the girls become comfortable in their new house, the susuwatari leave to find another empty house. Mei later discovers two small spirits who lead her into the hollow of a large camphor tree. She befriends a larger spirit, which identifies itself using a series of roars she interprets as "Totoro". Mei thinks Totoro is the troll from her illustrated book Three Billy Goats Gruff, with her mispronouncing troll. Mei falls asleep atop Totoro but when Satsuki finds her, she is on the ground. Despite many attempts, Mei cannot show her family Totoro's tree. Tatsuo comforts her by telling her Totoro will reveal himself when he wants to. Satsuki and Mei's house [ja] at the Expo 2005 site. Closeup view of Satsuki and Mei's house The girls later wait for Tatsuo's bus, which is late. Mei falls asleep on Satsuki's back and Totoro appears beside them, allowing Satsuki to see him for the first time. Totoro has only a leaf on his head for protection against the rain so Satsuki offers him the umbrella she had taken for her father. Delighted, he gives her a bundle of nuts and seeds in return. A giant, bus-shaped cat halts at the stop; Totoro boards it and leaves shortly before Tatsuo's bus arrives. A few days after planting the seeds, the girls awaken at midnight to find Totoro and his fellow spirits engaged in a ceremonial dance around the planted seeds and join in, causing the seeds to grow into an enormous tree. Totoro takes the girls for a ride on a magical flying top. In the morning, the tree is gone but the seeds have sprouted. The girls discover a planned visit by Yasuko has been postponed because of a setback in her treatment. Mei is upset and argues with Satsuki, leaving for the hospital to take fresh corn to Yasuko. Mei's disappearance prompts Satsuki and the neighbors to search for her. In desperation, Satsuki returns to the camphor tree and pleads for Totoro's help. Totoro summons the Catbus, which carries Satsuki to Mei's location and the sisters emotionally reunite. The bus then takes them to the hospital. The girls overhear a conversation between their parents and learn Yasuko has been kept in hospital by a minor cold but is otherwise recovering well. The girls secretly leave the ear of corn on the windowsill, where their parents discover it, and return home. Eventually, Yasuko returns home and the sisters play with other children while Totoro and his friends watch them from afar.

THE LAST PICTURE SHOW (Peter Bogdanovich, 1971)

In 1951, Sonny Crawford and Duane Jackson are high-school seniors and friends in tiny Anarene, a declining oil town in northern Texas. Duane is dating Jacy Farrow, the richest and prettiest girl in town. Sonny breaks up with his girlfriend Charlene Duggs. At Christmas time, Sonny begins an affair with Ruth Popper, the depressed middle-aged wife of his high-school coach. At a Christmas dance, Jacy is invited by Lester Marlow to a skinny dipping party at the home of Bobby Sheen, a wealthy young man who seems to be a better prospect than Duane. A group of boys including Duane and Sonny take their young, mentally disabled friend, Billy, to a prostitute to lose his virginity, but she hits Billy in the face when he accidentally attempts anal sex. When the group takes Billy back home, local businessman Sam tells them that since they cannot even take care of a friend, he is barring them from the pool hall, movie theater, and café he owns, all centerpieces of the town's social life. Duane, however, hides in the truck and escapes Sam's reproach. At the café, Genevieve, the waitress, tells Sonny she knows that Duane was with the group but agrees not to tell Sam. During the weekend of New Year's Eve Duane and Sonny go on a road trip to Mexico. Before they drive off, Sam, who has forgiven Sonny, wistfully wishes he still had the stamina to join them, and gives them some extra money. They return from the trip hung over and tired, to learn that Sam died suddenly of a stroke on New Year's Eve. In his will he left the movie theater to the woman who ran the concession stand; the café to Genevieve; $1,000 to the preacher's son, Joe Bob Blanton; and the pool hall to Sonny. Because Bobby has told Jacy that he does not date virgins, she invites Duane to a motel for sex, but Duane is unable to get an erection. She loses her virginity to Duane on their second attempt and then breaks up with him by telephone. When Bobby marries another girl, Jacy is disappointed. Out of boredom she has sex on a pool table with Abilene, a roughneck foreman who works for her father and who is also her mother's lover. He is brutally cold to her afterward. Jacy then sets her sights on Sonny, who drops Ruth without a word. Duane quarrels with Sonny over Jacy, "his" girl, smashing a bottle into Sonny's left eye that leaves him badly injured and disqualified for military service. Duane then joins the Army to fight in Korea. Jacy suggests to Sonny that they elope to Oklahoma. They marry and on their way to a honeymoon on Lake Texoma they are stopped by an Oklahoma state trooper. Jacy had left a note telling her parents about their plan, secretly hoping they would stop her. The Farrows have them held in custody until they arrive, her father dismissing Sonny completely and taking Jacy home. Sonny rides back with Jacy's mother, Lois, who reveals she was Sam's youthful lover and chides Sonny that he was much better off with Ruth than with Jacy. The marriage is promptly annulled. Duane returns to town on leave from the Army before shipping out for Korea. Sonny shows up at his home, and the two make amends. They go to the picture show for its final screening (the Western Red River, set in Texas and starring John Wayne). The next morning, Sonny sees Duane off on the bus. Billy is sweeping the street and is hit and killed by a truck, to the complete indifference of some of the local townsmen who blame him for being stupid and careless. Sonny is devastated and berates the men for their behavior. He then seeks comfort from Ruth who has since become even more depressed and has shuttered herself in her house. She explodes in hurt and anger. Then, spent, she takes his outstretched hand, tentatively reuniting the pair.

PHANTOM THREAD (Paul Thomas Anderson, 2017)

In 1954 London, fashion designer Reynolds Woodcock creates dresses for members of high society, even royalty. His clients view him as a genius whose creations enable them to become their best selves; but his creativity and charm are matched by his obsessive and controlling personality. Cyril, his sister, manages the day-to-day operations of his fashion house and tries to protect him from anything that might distract him from his work. The superstitious Reynolds is haunted by the death of their mother and often stitches hidden messages into the linings of the dresses he makes. After designing a new gown for a revered client, Lady Harding, Reynolds visits a restaurant near his country house and meets a foreign waitress, Alma Elson. She accepts his invitation to dinner. Their relationship blossoms, and she moves in with him, becoming his model, muse, and lover, although the physicality between the two is very subtle. Cyril initially distrusts Alma but comes to respect her willfulness and determination. At first, Alma enjoys being a part of Reynolds's work, but he proves aloof, hard to please, and finicky; as a result, they start to bicker. When Alma tries to show her love for Reynolds by preparing a romantic dinner, he lashes out, saying he will not tolerate deviations from the routines he has worked hard to perfect. Alma retaliates by poisoning Reynolds's tea with wild mushrooms gathered outside the country house. As he readies a wedding gown for a Belgian princess, Reynolds collapses, damaging the dress and forcing his staff to work all night to repair it. He becomes gravely ill and has hallucinations of his mother. Alma stays by his side, tirelessly nursing him back to health. After Reynolds recovers, he tells Alma that a house that does not change "is a dead house" and asks her to marry him. Taken aback, she hesitates but then accepts. Following a pleasant honeymoon in Switzerland, however, Reynolds and Alma start bickering again as Reynolds's domineering personality reasserts itself. Cyril reveals to Reynolds that Lady Harding is now a client at a rival fashion house and suggests that his classic, conservative designs may be going out of style. Reynolds blames Alma for being more a distraction than an inspiration, and Alma overhears him tell Cyril that it may be time to end the marriage. At the country house, Alma makes Reynolds an omelet poisoned with the same mushrooms as before. As he chews his first bite, she informs him that she wants him weak and vulnerable so that he has to depend on her to take care of him. Reynolds willingly swallows the bite and tells her to kiss him before he is sick. As Reynolds lies ill once again, Alma imagines their future with children, a rich social life, and a bigger role for her in the dressmaking business. She acknowledges that while there may be challenges ahead, their love and their complementary needs can overcome them.

THE HOUR OF THE FURNACES (Octavio Getino & Fernando E. Solanas, 1968)

In 1965, Fernando Solanas and Octavio Getino began collaborating on a documentary film that would serve as a witness to Argentina's reality. They began gathering archival material - newsreels - and testimony from Peronist Resistance fighters, intellectuals, and university leaders. The filmmakers' quest took them all throughout the nation, as evidenced by the subtitle of the film: 'Notes and Testimonies on Neocolonialism, Violence, and Liberation. The filmmakers gradually amended their original concept and part of their thoughts during this procedure (which lasted from late 1965 to mid-1968). They included a revisionist perspective of history as well as a focus on the Peronist working class as the central figure in Argentina's revolutionary change. They, like many other intellectuals in those years, underwent a transformation from the old left to a national left. Because of the film's adherence to forbidden Peronism, particularly its most extreme wing, its revolutionary demands, and the desire to inscribe it into the fights for social change, they had to resort to an alternate screening circuit when a new military dictatorship came to power in 1966.[4] Audiovisual counterpoint, the relationship between sound and image is integral to the film's establishment of its themes. For example, in the first part of the film, a series of wealthy individuals watch a cattle auction. The film cuts between the wealthy people and the cattle in rapid succession while the announcer describes the cows. This form of montage results in the viewer seeing the event as a kind of performance by the rich, expressing their best qualities in order to gain social status.

THE DOUBLE LIFE OF VÉRONIQUE (Krzysztof Kieslowski, 1991)

In 1968, a Polish girl glimpses the winter stars, while in France, another girl witnesses the first spring leaf. Fast forward to 1990, and we meet Weronika (Irène Jacob), a young Polish woman who is singing at an outdoor concert with her choir when a rainstorm interrupts their performance. Later that night, she makes love to her boyfriend, Antek (Jerzy Gudejko), before leaving for Kraków the next day to be with her sick aunt. She tells her father that she has been feeling a sense of not being alone in the world lately. Once in Kraków, Weronika joins a local choir and successfully auditions. One day, while walking in the city, she sees a French tourist who looks identical to her and watches as her doppelganger boards a bus and takes photographs. During the choir's next concert, Weronika suffers a cardiac arrest and dies. On the same day in France, Véronique (also played by Jacob), who looks exactly like Weronika, is overcome with grief after having sex with her boyfriend and later tells her music teacher that she's quitting the choir. At school, Véronique attends a marionette performance with her class and then leads them in a musical piece by Van den Budenmayer, the same composer who wrote the music Weronika performed before her death. That night, Véronique sees the puppeteer at a traffic light motioning to her not to light the wrong end of her cigarette. Later, she hears a choir singing Van den Budenmayer's music on a mysterious phone call. Véronique visits her father and confesses to being in love with someone she doesn't know and feeling like she's lost someone from her life. Back home, Véronique receives a package containing a shoelace, and a stranger shines a light on her using a mirror. She discovers that the puppeteer's identity is Alexandre Fabbri (Philippe Volter), a children's book author. Véronique reads his books and then receives a new package from her father with a cassette tape containing sounds that lead her to a café in Paris where Alexandre is waiting for her. He confesses to sending the packages to see if she would come to him, but Véronique is angry and checks into a nearby hotel. Alexandre follows her and asks for her forgiveness. They confess their feelings for each other and fall asleep together. The next morning, Véronique tells Alexandre that she feels like she is "here and somewhere else at the same time," and believes that someone has been guiding her life. She shows him the contents of her handbag, including a proof sheet of photos from her recent trip to Poland. Alexandre thinks he sees a photo of Véronique, but she assures him that it is not her. Overwhelmed, Véronique breaks down in tears, and Alexandre comforts her. It becomes clear that Weronika's fate has influenced Véronique's decision to stop singing and avoid a similar fate. Later, Véronique visits Alexandre at his apartment and sees him working on a pair of marionettes that resemble her. Alexandre explains that he needs a backup in case the original puppet gets damaged. He demonstrates how to operate the puppet while the duplicate lies on the table. Alexandre reads her his new book about two women born on the same day in different cities who have a mysterious connection. Later that day, Véronique visits her father's house and touches an old tree trunk. Her father, who is inside the house, seems to sense her presence.

CASINO (Martin Scorsese, 1995)

In 1973, sports handicapper and Mafia associate Sam "Ace" Rothstein is sent by the Chicago Mafia to Las Vegas to run the Tangiers Casino, with front man Philip Green. Sam soon doubles the casino's profits, with the extra unaccounted for cash skimmed directly from the casino count room, and delivered to the Midwest Mafia bosses. Chicago boss Remo Gaggi sends Sam's childhood friend and mob enforcer Nicky Santoro to protect Sam, the cash skim, and the casino. Nicky recruits his younger brother Dominick and childhood friend Frankie Marino to gather an experienced crew that specializes in shakedowns and jewelry burglaries. Nicky's Las Vegas criminal activities start drawing too much media and police attention and he is eventually placed in the Black Book, banning him from every casino in Nevada. Sam meets and falls in love with beautiful hustler showgirl, and former prostitute Ginger McKenna. They have a daughter, Amy, and marry, but their marriage is soon thrown into turmoil due to Ginger's relationship with her longtime boyfriend, con artist Lester Diamond. Sam has Nicky's crew beat Lester when they catch him accepting $25,000 from her. In the late 1970s, Ginger's problems intensify, as she turns to drugs and alcohol. In 1976, Sam fires slot manager Don Ward for incompetence. Ward is brother-in-law to Clark County Commission chairman Pat Webb, who is unable to convince Sam to re-hire Ward. Webb arranges for Sam's gaming license to be denied, jeopardizing Sam's position. Sam starts hosting a local television talk show from inside the casino, irritating both Nicky and the bosses back home for bringing more unneeded attention. Sam blames Nicky's recklessness for ongoing police and state government pressure, and Sam's attempts to get Nicky to leave Las Vegas only result in further strain on their friendship. When the Midwest bosses discover that people on the inside are stealing from their skim, they install incompetent Kansas City underboss Artie Piscano to oversee the operation. Disobeying orders, Piscano keeps detailed written records of the operation. Additionally, an FBI bug placed in Piscano's grocery store catches him talking in detail about the skim, prompting a full investigation into the Tangiers Casino. In 1980, Ginger kidnaps little Amy, planning to flee to Europe with her and Lester. Sam convinces Ginger to return with Amy, then overhears her planning on the phone to kill him. Enraged, Sam kicks her out of their home but relents and forgives her. Ginger confides in Nicky about the situation, and the two start an affair. Sam soon discovers their affair, confronts Ginger and ends his friendship with Nicky. Nicky ends his affair with Ginger once she asks him to kill Sam and threatens to go to the FBI. Ginger leaves Sam and takes all of her money and jewelry, then approached by the FBI, tells them nothing, but they already have all the evidence they need. In 1982, the FBI discovers Piscano's records, closes the Tangiers, and Green agrees to cooperate. The FBI approaches Sam for help by showing him photos of Nicky and Ginger together, but he turns them down. The Chicago bosses are arrested, get ready for trial, murdering anyone who might testify against them. In 1983, Ginger dies of a hot dose, presumably orchestrated by the mob. That same year, Sam narrowly survives a car bomb, suspecting Nicky to be the culprit. Sam states that the bosses did not authorize the bombing, because they had "other ideas" for him. In 1986, the bosses, finally fed up with Nicky's recklessness, order Frankie and his crew to kill Nicky and Dominick. Invited to attend a meetup in an Illinois remote cornfield, they are brutally beaten there with baseball bats, stripped of their clothes and buried alive in a shallow grave. With the Mafia now out of the casino industry, nearly all of the old casinos are demolished, and new casinos are built with money from junk bonds. Sam laments the new impersonal, corporate-run resorts of Las Vegas. Because of his status as a reliable and high earner for the outfit, Sam is allowed to live and is last seen working as a sports handicapper in San Diego, right back where he started. Sam states, "And why mess up a good thing? And that's that."

BACK TO THE FUTURE (Robert Zemeckis, 1985)

In 1985, teenager Marty McFly lives in Hill Valley, California, with his depressed alcoholic mother, Lorraine; his older siblings, who are professional and social failures; and his meek father, George, who is bullied by his supervisor, Biff Tannen. After Marty's band fails a music audition, he confides in his girlfriend, Jennifer Parker, that he fears becoming like his parents despite his ambitions. That night, Marty meets his eccentric scientist friend, Emmett "Doc" Brown, in the Twin Pines mall parking lot. Doc unveils a time machine built from a modified DeLorean, powered by plutonium he swindled from Libyan terrorists. After Doc inputs a destination time of November 5, 1955 (the day he first conceived his time travel invention), the terrorists arrive unexpectedly and gun him down. Marty flees in the DeLorean, inadvertently activating time travel when he reaches 88 miles per hour (142 kilometers per hour). Arriving in 1955, Marty discovers he has no plutonium to return. While exploring a burgeoning Hill Valley, Marty encounters his teenage father and discovers Biff was bullying George even then. George falls into the path of an oncoming car while spying on the teenage Lorraine changing clothes, and Marty is knocked unconscious while saving him. He wakes to find himself tended to by Lorraine, who becomes infatuated with him. Marty tracks down and convinces a younger Doc that he is from the future, but Doc explains the only source available in 1955 capable of generating the power required for time travel is a lightning bolt. Marty shows Doc a flyer from the future that documents an upcoming lightning strike at the town's courthouse. As Marty's siblings begin to fade from a photo he is carrying with him, Doc realizes Marty's actions are altering the future and jeopardizing his existence; Lorraine was supposed to tend to George instead of Marty after the car accident. Early attempts to get his parents acquainted fail, and Lorraine's infatuation with Marty deepens. Lorraine asks Marty to the school dance, and he plots to feign inappropriate advances on her, allowing George to intervene and rescue her, but the plan goes awry when Biff's gang locks Marty in the trunk of the performing band's car, while Biff forces himself onto Lorraine. George arrives expecting to find Marty but is assaulted by Biff. After Biff hurts Lorraine, an enraged George knocks him unconscious and escorts the grateful Lorraine to the dance. The band frees Marty from their car, but the lead guitarist injures his hand in the process, so Marty takes his place, performing while George and Lorraine share their first kiss. With his future no longer in jeopardy, Marty heads to the courthouse to meet Doc. Doc discovers a letter from Marty warning him about his future and rips it, worried about the consequences. To save Doc, Marty recalibrates the DeLorean to return ten minutes before he left the future. The lightning strikes, sending Marty back to 1985, but the DeLorean breaks down, forcing Marty to run back to the mall. He arrives as Doc is being shot. While Marty grieves at his side, Doc sits up, revealing he pieced Marty's note back together and wore a bulletproof vest. He takes Marty home and departs to 2015 in the DeLorean. Marty wakes the next morning to discover his father is now a confident and successful science fiction author, his mother is fit and happy, his siblings are successful, and Biff is a servile valet in George's employ. As Marty reunites with Jennifer, Doc suddenly reappears in the DeLorean, insisting they return with him to the future to save their children from terrible fates.

FARGO (Joel Coen & Ethan Coen, 1996)

In 1987, Jerry Lundegaard, the executive sales manager of a car dealership owned by his father-in-law, Wade Gustafson, is desperate for money. On the advice of mechanic and convicted felon Shep Proudfoot, Jerry travels to Fargo, North Dakota, and hires Carl Showalter and Gaear Grimsrud to kidnap his wife, Jean. He gives them a new Cutlass Ciera and promises them half of the $80,000 ransom he says he intends to extract from Wade. Jerry pitches Wade a lucrative real estate deal and believes Wade has agreed to lend him $750,000 to finance it, so he attempts to call off the kidnapping. Wade and his accountant Stan Grossman inform Jerry that Wade will make the deal himself and pay Jerry only a modest finder's fee. Carl and Gaear kidnap Jean and transport her to a remote cabin in Moose Lake. A state trooper stops them near Brainerd for not displaying temporary registration tags. The trooper rejects Carl's clumsy bribe attempt and hears Jean whimpering in the back seat. Gaear shoots him, then chases down and kills two passers-by who witnessed the scene. The following morning, Brainerd police chief Marge Gunderson, who is seven months pregnant, begins investigating. She correctly deduces that the dead trooper was ticketing a car with dealer plates. She later learns that two men driving a dealership vehicle checked into the nearby Blue Ox Motel with two call girls and placed a call to Proudfoot. After questioning the girls, Marge visits Wade's dealership, where Proudfoot feigns ignorance and Jerry insists no cars are missing. While in Minneapolis, Marge reconnects with Mike Yanagita, a high school classmate, who awkwardly tries to romance her before breaking down and saying his wife has died. Jerry tells Wade the kidnappers have demanded $1 million and will deal only through him. In light of the three murders, Carl demands Jerry hand over all of the $80,000 he believes is the entire ransom. Carl is with another call girl in a Minneapolis hotel room when Proudfoot enters and attacks him for bringing Proudfoot to the attention of the police. Carl then calls Jerry and orders him to deliver the ransom immediately. Wade insists on bringing it and meets Carl at a parking garage. He refuses to hand over the money without seeing his daughter, so an enraged Carl shoots him. Wade is armed and fires back, wounding Carl in the jaw. Carl kills Wade and a garage attendant, then drives away with the briefcase containing the ransom. On the way to Moose Lake, Carl discovers the briefcase contains $1 million. He removes $80,000 to split with Gaear, then buries the rest in the snow alongside the highway. At the cabin, Carl finds that Gaear killed Jean because she would not be quiet. Carl says they should split up and leave immediately, and they argue over who will keep the Ciera. Carl uses his injury as justification, shouts insults at Gaear, and attempts to take the vehicle. Gaear kills Carl with an axe. Marge learns from a friend that Yanagita lied; he has no wife and is mentally ill. Reflecting on this, Marge returns to Wade's dealership. Jerry nervously insists no cars are missing and promises to double-check his inventory. Marge sees Jerry driving off the lot and calls the state police. Marge drives to Moose Lake after a local bartender reports having heard a "funny-looking guy" brag about killing someone. She drives by the cabin, sees the Ciera, then discovers Gaear feeding Carl's dismembered body into a woodchipper. Gaear attempts to flee, but Marge shoots him in the leg and arrests him. Shortly afterwards, Jerry is arrested at a motel outside Bismarck, North Dakota. Marge's husband, Norm, tells her the Postal Service has selected his painting of a mallard for a three cent postage stamp and complains that his friend's painting won the competition for a twenty-nine cent stamp. Marge reminds him that many people use smaller denomination stamps whenever prices increase and they need to make up the difference between the face value of their old stamps and the new cost of first class postage. Norm is reassured, and the couple happily anticipates the birth of their child.

THE BIG LEBOWSKI (Joel Coen & Ethan Coen, 1998)

In 1991, slacker and avid bowler Jeffrey "The Dude" Lebowski is attacked in his Los Angeles home by two enforcers for porn kingpin Jackie Treehorn, to whom a different Jeffrey Lebowski's wife owes money. One of the thugs urinates on the Dude's rug before the two realize that they have the wrong man and leave. Consulting his bowling partners, Vietnam veteran Walter Sobchak and fall guy Donny Kerabatsos, the Dude visits wealthy philanthropist Jeffrey Lebowski ("the big Lebowski"), requesting compensation for the rug. Lebowski refuses, but the Dude tricks his assistant Brandt into letting him take a similar rug from the mansion. Outside, he meets Bunny, Lebowski's trophy wife, and her German nihilist friend Uli. Soon afterwards, Bunny is apparently kidnapped, and Lebowski hires The Dude to deliver the requested ransom money, one million dollars. That night, another group of thugs ambush the Dude, taking his replacement rug on behalf of Lebowski's daughter Maude, who has a sentimental attachment to it. The kidnappers arrange to collect the ransom. Convinced that the kidnap was a ruse by Bunny, Walter schemes to keep the money for the Dude and himself, substituting it with a bag of his dirty laundry. The plan fails, the kidnappers leave with Walter's bag, and he and The Dude return to the bowling alley, leaving the briefcase of money in the car trunk. While they bowl, the car is stolen. The Dude is soon confronted by Lebowski, who hands him an envelope from the kidnappers containing a severed toe, supposedly Bunny's. Maude asks the Dude to help recover the money, which her father illegally withdrew from the family's charity foundation. The Dude receives a phone call from the police telling him that his car has been found and taken to an impound lot. While retrieving the car, he notices that the briefcase is missing and finds a piece of homework belonging to a teenager named Larry Sellers. Walter and the Dude drive to Larry's house and interrogate him, but are unable to get any information out of him. Walter tries to intimidate Larry by smashing a brand new sports car that he believes the teenager purchased with the stolen money, but attracts the attention of the car's real owner, who destroys the Dude's car in retaliation, believing it to be Walter's. The Dude is abducted by Jackie Treehorn's thugs and taken to see the porn kingpin, who demands to know where Bunny is and what happened to his money. The Dude tells Treehorn that Bunny faked her kidnapping and that his money is with Larry Sellers. The Dude passes out after drinking a spiked White Russian given to him by Treehorn, and has an intense dream in which he envisions an elaborate, Busby Berkeley-style musical sequence featuring himself and Maude. When he comes to, he is arrested and taken to a local police station, where the police chief threatens him and warns him to stay out of Malibu. On the ride home, the Dude is thrown out of his taxi after complaining about the driver's selection of The Eagles' music on the car radio. At that moment, Bunny drives by in her car, with all her toes shown to be intact. In a later scene, it is revealed that the severed toe came from the girlfriend of one of the nihilists. Returning home, The Dude finds Maude, who has sex with him. She explains that she is trying to become pregnant by a father with whom she will not have to interact socially. She reveals that her father has no money of his own; his wealth came from her late mother. The Dude and Walter confront Lebowski, and find that Bunny has returned, having simply gone out of town without telling anyone. He explains that Bunny's nihilist friends had taken the opportunity to try and blackmail Lebowski, who, in turn, had tried to embezzle money from the family charity, blaming its disappearance on the blackmailers. The Dude believes the briefcase given to him never contained any money. An enraged Walter insists that Lebowski is faking his paralysis and violently lifts him out of his wheelchair, but discovers that the paralysis is real. While Walter and The Dude are bowling, an angry Jesus Quintana bursts into the bowling alley. Walter had previously stated that since he is shomer Shabbas, he could not bowl on a Saturday. In a profanity-laden tirade, Quintana implies that he does not believe that Walter's religious reasons for not wanting to bowl on Saturday are sincere. Although Quintana's bowling partner Liam attempts to restrain him, Quintana threatens Walter and The Dude with sexual violence and storms out. In a final confrontation outside of the bowling alley, the nihilists set fire to the Dude's car, and demand the ransom money. Walter fights them off, but during the altercation, Donny dies from a heart attack. Walter scatters Donny's ashes from a cliff overlooking the Pacific Ocean, but they are blown back over himself and the Dude by an updraft. The two go bowling. At the alley, the Dude encounters the Stranger, the film's narrator, who sums up everything that happened in the movie, noting that while he "didn't like seeing Donny go," he remains optimistic and reveals that Maude is pregnant with a "little Lebowski on the way."

TERMINATOR 2: JUDGMENT DAY (James Cameron, 1991)

In 2029, Earth has been ravaged by the war between the malevolent artificial intelligence Skynet and the human resistance. Skynet sends the T-1000—an advanced, prototype, shape-shifting Terminator made of virtually indestructible liquid metal—back in time to kill the resistance leader John Connor when he is a child. To protect Connor, the resistance sends back a reprogrammed T-800 Terminator, a less-advanced metal endoskeleton covered in synthetic flesh. In 1995 Los Angeles, John's mother Sarah has been incarcerated at the Pescadero State Hospital for her violent, fanatical efforts to prevent "Judgment Day"—the prophesied events of August 29, 1997, when Skynet will gain sentience and, in response to its creators' attempts to deactivate it, incite a nuclear holocaust. John, taken in by his foster parents, considers Sarah's beliefs to be delusional and resents her efforts to prepare him for his future role. The T-800 and the T-1000 converge on John in a shopping mall and a chase ensues. John and the T-800 escape together. John calls to warn his foster parents but the T-800 deduces the T-1000 has already killed them. Realizing the T-800 is programmed to obey him, John forbids it from killing people and orders it to save Sarah from the T-1000. The T-800 and John intercept Sarah during an escape attempt but Sarah flees in horror because the T-800 resembles the Terminator that was sent to kill her in 1984.[b] John and the T-800 persuade her to join them, and they escape the pursuing T-1000. Although distrustful of the T-800, Sarah uses its knowledge of the future to learn that a revolutionary microprocessor, being developed by Cyberdyne Systems engineer Miles Dyson, will be crucial to Skynet's creation. Over the course of their journey, Sarah sees the T-800 serving as a friend and father figure to John, who teaches it catchphrases and hand signs while encouraging it to become more human-like. Sarah plans to flee with John to Mexico until a nightmare about Judgment Day convinces her to kill Dyson, whom she assaults in his home, but finds she cannot kill him and relents. John arrives and reconciles with Sarah while the T-800 convinces Dyson of the future consequences of his work. Dyson reveals his research has been reverse engineered from the damaged CPU and severed arm of the 1984 Terminator. Believing his work must be destroyed, Dyson, Sarah, John, and the T-800 break into Cyberdyne, retrieve the CPU and the arm, and set explosives to destroy the lab. The police assault the building and fatally shoot Dyson, but he detonates the explosives as he dies. The T-1000 pursues the surviving trio, cornering them in a steel mill. Sarah and John split up to escape while the T-1000 mangles the T-800 and briefly deactivates it by destroying its power source. The T-1000 assumes Sarah's appearance to lure out John but Sarah intervenes and, along with the reactivated T-800, pushes it into a vat of molten steel, where it disintegrates. The T-800 explains it must also be destroyed to prevent it from serving as a foundation for Skynet. Despite John's tearful protests, the T-800 persuades him its destruction is the only way to protect their future. Sarah shakes the T-800's hand and, having come to respect it, helps lower it into the vat. Before its destruction, the T-800 gives John a thumbs-up. As Sarah drives down a highway with John, she reflects on her renewed hope for an unknown future, musing if the T-800 could learn the value of life, so can humanity.

MONTY PYTHON AND THE HOLY GRAIL (Terry Gilliam & Terry Jones, 1975)

In AD 932, King Arthur and his squire, Patsy, travel Britain searching for men to join the Knights of the Round Table. Along the way, Arthur debates whether swallows could carry coconuts, passes through a town infected with the Black Death, recounts receiving Excalibur from the Lady of the Lake to two anarcho-syndicalist peasants, defeats the Black Knight, and observes an impromptu witch trial. He recruits Sir Bedevere the Wise, Sir Lancelot the Brave, Sir Galahad the Pure, Sir Robin the Not-Quite-So-Brave-as-Sir-Lancelot, and the aptly named Sir Not-Appearing-in-this-Film, along with their squires and Robin's minstrels. Arthur leads the knights to Camelot, but, after a musical number, changes his mind, deeming it "a silly place". As they turn away, God appears and orders Arthur to find the Holy Grail. Arthur and his knights arrive at a castle occupied by French soldiers, who claim to have the Grail and taunt the Britons, driving them back with a barrage of barnyard animals. Bedevere concocts a plan to sneak in using a Trojan Rabbit, but no one hides inside it, and the Britons are forced to flee when it is flung back at them. Arthur decides the knights should go their separate ways to search for the Grail. A modern-day historian filming a documentary on the Arthurian legends is killed by an unknown knight on horseback, triggering a police investigation. Arthur and Bedevere are given directions by an old man and attempt to satisfy the strange requests of the dreaded Knights Who Say "Ni!" Sir Robin avoids a fight with a Three-Headed Knight by running away while the heads are arguing amongst themselves. Sir Galahad is led by a grail-shaped beacon to Castle Anthrax, which is occupied exclusively by young women, who wish to be punished for misleading him, but he is unwillingly "rescued" by Lancelot. Lancelot receives an arrow-shot note from Swamp Castle. Believing the note is from a lady being forced to marry against her will, he storms the castle and slaughters several members of the wedding party, only to discover the note is from an effeminate prince. Arthur and his knights regroup and are joined by Brother Maynard, his monk brethren, and three new knights: Bors, Gawain and Ector. They meet Tim the Enchanter, who directs them to a cave where the location of the Grail is said to be written. The entrance to the cave is guarded by the Rabbit of Caerbannog. Underestimating it, the knights attack, but the Rabbit easily kills Bors, Gawain and Ector. Arthur uses the "Holy Hand Grenade of Antioch", provided by Brother Maynard, to destroy the creature. Inside the cave, they find an inscription from Joseph of Arimathea, directing them to Castle Aarrgh. An animated cave monster devours Brother Maynard, but Arthur and the knights escape after the animator unexpectedly suffers a fatal heart attack. The knights approach the Bridge of Death, where the bridge-keeper demands they answer three questions in order to pass or else be cast into the Gorge of Eternal Peril. Lancelot easily answers simple questions and crosses. An overly cocky Robin is defeated by an unexpectedly difficult question, and an indecisive Galahad fails an easy one; both are magically flung into the gorge. When Arthur asks for clarification on a question regarding the airspeed of an unladen swallow, the bridge-keeper cannot answer and is himself thrown into the gorge. Arthur and Bedevere cannot find Lancelot, unaware that he has been arrested by police investigating the historian's death. The pair reach Castle Aarrgh, but find it occupied by the French soldiers. After being repelled by showers of manure, they summon an army of knights and prepare to assault the castle. As the army charges, the police arrive, arrest Arthur and Bedevere for the murder of the historian and break the camera, ending the film.

THE THING (John Carpenter, 1982)

In Antarctica, a Norwegian helicopter pursues a sled dog to an American research station. The Americans witness the passenger accidentally blow up the helicopter and himself. The pilot fires a rifle and shouts at the Americans, but they cannot understand him and he is shot dead in self-defense by station commander, Garry. The American helicopter pilot, R.J. MacReady, and Dr. Copper leave to investigate the Norwegian base. Among the charred ruins and frozen corpses, they find the burnt corpse of a malformed humanoid, which they transfer to the American station. Their biologist, Blair, autopsies the remains and finds a normal set of human organs. Clark kennels the sled dog, and it soon metamorphoses and absorbs several of the station dogs. This disturbance alerts the team, and Childs uses a flamethrower to incinerate the creature. Blair autopsies the Dog-Thing and surmises it is an organism that can perfectly imitate other life-forms. Data recovered from the Norwegian base leads the Americans to a large excavation site containing a partially buried alien spacecraft, which Norris estimates has been buried for over a hundred thousand years, and a smaller, human-sized dig site. Blair grows paranoid after running a computer simulation that indicates the creature could assimilate all life on Earth in a matter of years. The station implements controls to reduce the risk of assimilation. The remains of the malformed humanoid assimilate an isolated Bennings, but Windows interrupts the process and MacReady burns the Bennings-Thing. The team also imprisons Blair in a tool shed after he sabotages all the vehicles, kills the remaining sled dogs, and destroys the radio to prevent escape. Copper suggests testing for infection by comparing the crew's blood against uncontaminated blood held in storage, but after learning the blood stores have been destroyed, the men lose faith in Garry's leadership, and MacReady takes command. He, Windows and Nauls find Fuchs's burnt corpse and surmise he committed suicide to avoid assimilation. Windows returns to base while MacReady and Nauls investigate MacReady's shack. During their return, Nauls abandons MacReady in a snowstorm, believing he has been assimilated after finding his torn clothes in the shack. The team debates whether to allow MacReady inside, but he breaks in and holds the group at bay with dynamite. During the encounter, Norris appears to suffer a heart attack. As Copper attempts to defibrillate Norris, his chest transforms into a large mouth and bites off Copper's arms, killing him. MacReady incinerates the Norris-Thing, but its head detaches and attempts to escape before also being burnt. MacReady hypothesizes that the Norris-Thing demonstrated that every part of the Thing is an individual life-form with its own survival instinct. He proposes testing blood samples from each survivor with a heated piece of wire and has each man restrained, but is forced to kill Clark after he lunges at MacReady with a scalpel. Everyone passes the test except Palmer, whose blood recoils from the heat. Exposed, the Palmer-Thing transforms, breaks free of its bonds, and infects Windows, forcing MacReady to incinerate them both. Childs is left on guard while the others go to test Blair, but they find that he has escaped, and has been using vehicle components to assemble a small flying saucer, which they destroy. Upon their return, Childs is missing, and the power generator is destroyed, leaving the men without heat. MacReady speculates that, with no escape left, the Thing intends to return to hibernation until a rescue team arrives. MacReady, Garry, and Nauls agree that the Thing cannot be allowed to escape and set explosives to destroy the station, but the Blair-Thing kills Garry, and Nauls disappears. The Blair-Thing transforms into an enormous creature and breaks the detonator, but MacReady triggers the explosives with a stick of dynamite, destroying the station. Childs returns as MacReady sits by the burning remnants, saying he got lost in the storm while pursuing Blair. Exhausted and slowly freezing to death, they acknowledge the futility of their distrust and share a bottle of Scotch whisky.

NOTORIOUS (Alfred Hitchcock, 1946)

In April 1946, Alicia Huberman, the American daughter of a convicted Nazi spy, is recruited by government agent T. R. Devlin to infiltrate an organization of Nazis who have escaped to Brazil after World War II. When Alicia refuses to help the authorities, Devlin plays recordings of her fighting with her father and insisting that she loves America. Devlin and Alicia meet at the track, with Alexander watching from the grandstand. While awaiting the details of her assignment in Rio de Janeiro, Alicia and Devlin fall in love, though his feelings are complicated by his knowledge of her promiscuous past. When Devlin gets instructions to persuade her to seduce Alex Sebastian, one of her father's friends and a leading member of the Farben executives, Devlin fails to convince his superiors that Alicia is not fit for the job. Devlin is also informed that Sebastian once was in love with Alicia. Devlin puts up a stoic front when he informs Alicia about the mission. Alicia concludes that he was merely pretending to love her as part of his job. Devlin contrives to have Alicia meet Sebastian at a riding club. He recognizes her and invites her to dinner where he says that he always knew they would be reunited. Sebastian quickly invites Alicia to dinner the following night at his home, where he will host a few business acquaintances. Devlin and Captain Paul Prescott of the US Secret Service tell Alicia to memorize the names and nationalities of everyone there. At dinner, Alicia notices that a guest becomes agitated at the sight of a certain wine bottle, and is ushered quickly from the room. When the gentlemen are alone at the end of the dinner, this guest apologizes and tries to go home, but another insists on driving him, implying that he will kill him. Soon Alicia reports to Devlin, "You can add Sebastian's name to my list of playmates." When Sebastian proposes, Alicia informs Devlin; he coldly tells her to do whatever she wants. Deeply disappointed, she marries Sebastian. Alicia takes the wine cellar key while Alexander dresses for the party. The gown is by Edith Head. After she returns from her honeymoon, Alicia is able to tell Devlin that the key ring her husband gave her lacks the key to the wine cellar. That, and the bottle episode at the dinner, lead Devlin to urge Alicia to hold a grand party so he can investigate. Alicia secretly steals the key from Sebastian's ring, and Devlin and Alicia search the cellar. Devlin accidentally breaks a bottle; inside is black sand, later proven to be uranium ore. Devlin takes a sample, cleans up, and locks the door as Sebastian comes down for more champagne. Alicia and Devlin kiss to cover their tracks. Devlin makes an exit. Sebastian realizes that the cellar key is missing - yet overnight it is returned to his key ring. When he returns to the cellar, he finds the glass and sand from the broken bottle. Now Sebastian has a problem: he must silence Alicia, but cannot expose her without revealing his own blunder to the rest of the Nazi emigres. When Sebastian discusses the situation with his mother, she suggests that Alicia "die slowly" by poisoning. They poison her coffee and she quickly falls ill. During a visit from Sebastian's friend Dr. Anderson, Alicia realizes both where the uranium has been mined and what is causing her sickness. Alicia collapses and is taken to her room, where the telephone has been removed and she is too weak to leave. Devlin becomes alarmed when Alicia fails to appear at their rendezvous for five days and sneaks into Alicia's room, where she tells him that Sebastian and his mother poisoned her. After confessing his love for her, Devlin carries her out of the mansion in full view of Sebastian's co-conspirators. Sebastian and his mother go along with Devlin's story that Alicia must go to the hospital. Outside, Sebastian begs to go with them, but Devlin and Alicia drive away, leaving Sebastian behind to meet his fate.

LIMITE (Mario Peixoto, 1931)

In August 1929, Peixoto was in Paris, on a summer break from his studies in England, when he saw a photograph by André Kertész of two handcuffed male hands around the neck of a woman who is gazing at the camera. This became the 'generative' or 'Protean' image for Limite.[2] The film's unusual structure has kept the film in the margins of most film histories, where it has been known mainly as a provocative and legendary cult film.[3]

KIND HEARTS AND CORONETS (Robert Hamer, 1949)

In Edwardian England, Louis D'Ascoyne Mazzini, 10th Duke of Chalfont, is in prison, awaiting his hanging for murder the following morning. As he writes his memoirs, a flashback ensues. His mother, the youngest daughter of the 7th Duke of Chalfont, eloped with an Italian opera singer named Mazzini and was disowned by her family for marrying beneath her station. The Mazzinis were poor but happy until Mazzini died shortly after Louis was born. Louis's mother raises him on the history of her family and tells him how, unlike most other peerages, the dukedom of Chalfont can descend through female heirs. Louis's only childhood friends are Sibella and her brother, the children of a local doctor. When Louis leaves school, his mother writes to her kinsman Lord Ascoyne D'Ascoyne, a private banker, for assistance in launching her son in a career, but is rebuffed. Louis is forced to work as an assistant in a draper's shop. When his mother dies, her last request, to be interred in the family burial vault at Chalfont Castle, is denied. Louis proposes marriage to Sibella, but she ridicules his proposal, and marries Lionel Holland, a former school friend of her brother who has a rich father. Soon after this, Louis quarrels with a customer, Ascoyne D'Ascoyne, the banker's only child, who has him dismissed from his job. Louis resolves to kill Ascoyne D'Ascoyne and the other seven people ahead of him in succession to the dukedom. After arranging a fatal boating accident for Ascoyne D'Ascoyne and his mistress, Louis writes a letter of condolence to his victim's father, Lord Ascoyne D'Ascoyne, who employs him as a clerk. Upon his later promotion, Louis takes a bachelor flat in St James's, London, for assignations with Sibella. Louis next targets Henry D'Ascoyne, a keen amateur photographer. He meets Henry and is charmed by his wife, Edith. He substitutes petrol for paraffin in the lamp of Henry's darkroom, with fatal results. Louis decides the widow is fit to be his duchess. The Reverend Lord Henry D'Ascoyne is the next victim. Posing as the Anglican Bishop of Matabeleland, Louis poisons Lord Henry's after-dinner port. From the window of his flat, Louis then uses a bow and arrow to shoot down the balloon from which the suffragette Lady Agatha D'Ascoyne is dropping leaflets over London. Louis next sends General Lord Rufus D'Ascoyne a jar of caviar which contains a bomb. Admiral Lord Horatio D'Ascoyne presents a challenge, as he rarely sets foot on land. However, by chance he conveniently insists on going down with his ship after causing a collision at sea. When Edith agrees to marry Louis, they notify Ethelred, the childless, widowed 8th duke. He invites them to spend a few days at Chalfont Castle. When Ethelred casually informs Louis that he intends to remarry in order to produce an heir, Louis arranges a hunting "accident". Before shooting the duke, he reveals his motive. Lord Ascoyne D'Ascoyne dies from the shock of learning that he has become the ninth duke, sparing Louis from having to murder his kindly employer. Louis inherits the dukedom, but his triumph proves short-lived. Sibella's husband, Lionel, had made a drunken plea to Louis for financial help to avoid bankruptcy, but Louis turned him down flat. Lionel is later found dead, and a Scotland Yard detective arrests Louis on suspicion of murder. Louis elects to be tried by his peers in the House of Lords. During the trial, Louis and Edith are married. Sibella falsely testifies that Lionel was about to seek a divorce and name Louis as co-respondent. Ironically, Louis is convicted of a murder he had never even contemplated. Louis is visited by Sibella, who observes that the discovery of Lionel's suicide note and Edith's death would free Louis and enable them to marry, a proposal to which he agrees. Moments before his hanging, the discovery of the note secures his release. Louis finds both Edith and Sibella waiting for him outside the prison, but is undecided which to choose. When a reporter tells him that Tit-Bits magazine wishes to publish his memoirs, Louis suddenly remembers that he has left them behind in his cell.

NIGHT OF THE DEMON (Jacques Tourneur, 1957)

In England, Professor Harrington begs his rival, Dr. Julian Karswell, to rescind a curse he inflicted on him; in return, Harrington will cease his investigation into Karswell's Satanic cult. After learning that a parchment he gave Harrington has been destroyed, Karswell promises to do what he can. As Harrington arrives home, he sees a gigantic demon in the trees. Harrington tries to escape in his car but crashes into power lines. The authorities declare electrocution as the cause of death. Dr. John Holden arrives in Britain to attend a convention at which Harrington had intended to expose Karswell's cult. He is informed that the only link between Harrington's death and Karswell's cult is a man suspected of murder, Rand Hobart, who has fallen into a catatonic stupor. While Harrington's collaborators consider the possibility of supernatural forces, Holden rejects such an option. Holden meets Karswell at the Reading Room of the British Museum. When a rare book that Holden requests goes missing, Karswell offers to show Holden his own copy at his mansion. At Harrington's funeral, Holden meets Harrington's niece, Joanna. She gives him Harrington's diary, which details Harrington's fear of Karswell's power. Holden remains sceptical, but goes with Joanna to Karswell's mansion the next day. When a strong windstorm abruptly starts, Karswell claims to have created it with a spell. When Holden mocks him, Karswell claims that Holden will die in three days. Holden and his colleagues discuss Karswell and make plans to examine Rand Hobart. Holden goes to dinner with Joanna and she shows him her uncle's diary. Harrington's diary mentions a parchment with runic writing on it that was passed to him by Karswell, and Holden finds a similar parchment that Karswell secretly passed to him at the library. A powerful wind comes through the window, blowing the parchment from his fingers towards the fireplace, only to be stopped by a fire screen. Holden recovers and pockets it. Holden visits Hobart's family to seek permission to hypnotise Hobart and find out about the death he is suspected of. The mother gives her consent but says that the family are "believers." As Holden leaves, the parchment is blown from his hand. Hobart's family becomes fearful and declares Holden to be "chosen." Later, Holden compares the parchment's runes to ones inscribed on the nearby stone circle at Stonehenge. Joanna takes Holden to a séance at the invitation of Karswell's mother. A medium claims to channel Harrington, who tells them that Karswell has the key to reading the runes in his copy of the rare book. After Holden abruptly exits, dismissing the séance as nonsense, Joanna says she intends to search for the key and they drive to Karswell's mansion. Holden breaks into the house while she waits outside. Inside, he is attacked by a cat that seems to morph into a panther. Holden is rescued by Karswell entering and switching on the light, saying he knew Holden would come. Against Karswell's warning, Holden leaves through the woods, and believes he is chased by a cloud of smoke and fire before escaping. Under hypnosis, the suspect Hobart reveals to Holden that he was "chosen" to die by having a runic parchment passed to him, but avoided death by passing it back to the person who had given it to him. When Holden shows Hobart the parchment he had received from Karswell, Hobart thinks he is trying to give it to him. He becomes hysterical and jumps through a window to his death. Holden learns Karswell is taking a train to Southampton, and on the train discovers that he has kidnapped and hypnotised Joanna. As the time for Holden's predicted death draws near, the train stops at the next station, and Karswell tries to leave. Holden manages to sneak the parchment into Karswell's coat pocket, and when Karswell finds it, it flies from his hand. He chases it down the tracks, but as he reaches it the parchment combusts. As an oncoming train approaches, the demon manifests and attacks Karswell. When his corpse is found by the tracks, the police believe that he was struck and dragged by the train. Holden, instead of going to inspect the body, departs with Joanna.

THE GOSPEL ACCORDING TO ST. MATTHEW (Pier Paolo Pasolini, 1964)

In Galilee during the Roman Empire, Jesus of Nazareth travels around the country with his disciples, healing the blind, raising the dead, exorcising demons and proclaiming the arrival of the Kingdom of God and the salvation of Israel. He claims to be the Son of God and so, therefore, the prophesied Messiah of Israel, which brings him into direct confrontation with the Jewish temple leaders. He is arrested, handed over to the Romans and charged with sedition against the Roman state, of which he is declared innocent by the Roman governor of Judea, but is, nevertheless, crucified at the behest of the Temple leaders. He rises from the dead after three days.

UNDER THE SKIN (Jonathan Glazer, 2013)

In Glasgow, a motorcyclist retrieves an inert young woman from the roadside and places her in the back of a van, where a naked woman dons her clothes. After buying clothes and make-up at a shopping centre, the woman drives the van from town to town, picking up men. She lures a man into a dilapidated house. As he undresses, following the woman into a void, he is submerged in a liquid abyss. At a beach, the woman attempts to pick up a swimmer, but is interrupted by the cries of a drowning couple attempting to rescue their dog, as it is pulled out to sea. The swimmer rescues the husband, but the husband rushes back into the water to save his wife and both drown. As the swimmer lies exhausted on the beach, the woman strikes his head with a rock, drags him to the van, and drives away, ignoring the couple's distraught baby. Later that night, the motorcyclist retrieves the swimmer's belongings, ignoring the baby, who is still on the beach. The woman visits a nightclub and picks up another man. At the house, he follows her into the void and is submerged in the liquid. Suspended beneath the surface, he sees the swimmer floating naked beside him, alive but bloated and almost immobile. When he reaches to touch him, the swimmer's body collapses and a red mass empties through a trough. The next day, the woman receives a rose from a street vendor, purchased by another man in traffic. She listens to a radio report about the missing family from the beach. The woman enters a dark room and is examined by the motorcyclist. She seduces a lonely man with facial tumours but lets him leave after examining herself in a mirror. The motorcyclist intercepts the man and bundles him into a car, then sets out in pursuit of the woman with three other motorcyclists. In the Scottish Highlands, the woman abandons the van in the fog. She walks to a restaurant and attempts to eat cake, but retches and spits it out. In a bus, she meets a man who offers to help her. At his house, he prepares a meal for her and they watch television. Alone in her room, she examines her body in a mirror. They visit a ruined castle, where the man carries her over a puddle and helps her down some steps. At his house, they kiss and begin to have sex, but the woman stops and examines her genitals. Wandering in a forest, the woman meets a commercial logger and shelters in a bothy. She wakes up to find the logger molesting her. She runs into the wilderness but he catches and attempts to rape her; he tears her skin, revealing a black, featureless body. As the woman extricates herself from her skin, the man douses her in fuel and burns her alive. Elsewhere, the motorcyclist stands on a mountaintop and looks out across a snowy field.

HIGH NOON (Fred Zinnemann, 1952)

In Hadleyville, a small town in New Mexico Territory, in 1898, Marshal Will Kane, newly married to Amy Fowler, prepares to retire. The happy couple will soon depart for a new life: to raise a family and run a store in another town. However, word arrives that Frank Miller, a vicious outlaw whom Kane sent to prison, has been released and will arrive by the noon train. Miller's gang—his younger brother Ben, Jack Colby, and Jim Pierce—await his arrival at the train station. Will Kane and Amy Fowler argue in the Marshal's office For Amy, a devout Quaker and pacifist, the solution is simple—leave town before Miller arrives—but Kane's sense of duty and honor make him stay. Besides, he says, Miller and his gang would hunt him down anyway. Amy gives Kane an ultimatum: she is leaving on the noon train, with or without him. Kane visits a series of old friends and allies, but none can or will help: Judge Percy Mettrick, who sentenced Miller, flees on horseback, and urges Kane to do the same. Harvey Pell, Kane's young deputy, is bitter that Kane did not recommend him as his successor; he says he will stand with Kane only if Kane goes to the city fathers and "puts the word in" for him. When Kane refuses, Pell turns in his badge and pistol. Kane's efforts to round up a posse at Ramírez's Saloon, and then the church, are met with fear and hostility. Some townspeople, worried that a gunfight would damage the town's reputation, urge Kane to avoid the confrontation entirely. Some are Miller's friends, but others resent that Kane cleaned up the town in the first place. Others are of the opinion that their tax money goes to support local law enforcement, and that the fight is not a posse's responsibility. Sam Fuller hides in his house, sending his wife Mildred to the door to tell Kane he is not home. Jimmy offers to help, but he is blind in one eye, sweating, and unsteady. Kane tells him he will call him and gives him money for a drink. The mayor encourages Kane to just leave town. Martin Howe, Kane's predecessor, is too old and arthritic. Herb Baker agrees to be deputized, but backs out when he realizes he is the only volunteer. A final offer of aid comes from 14-year-old Johnny. Kane admires the boy's courage, but refuses his help. While waiting at the hotel for the train, Amy meets Helen Ramírez, who was once Miller's lover, then Kane's, then Pell's. Helen, who too is leaving, tells Amy that if Kane were her man, she would not abandon him in his hour of need. At the stables, Pell saddles a horse and tries to persuade Kane to take it. They end up in a fist fight. After knocking his former deputy senseless, Kane returns to his office to write out his will. The clock ticks toward noon. Kane then goes into the street to face Miller and his gang alone. Amy and Ramirez ride by on a wagon with their luggage, bound for the train station. The perspective elevates and expands, showing Kane standing alone on a deserted street. The gunfight begins. As the train is about to depart, Amy hears the gunfire, leaps off, and runs back to town. Kane guns down Ben Miller and Colby, but is wounded as Miller attempts to burn Kane out of a barn. Choosing her husband's life over her religious beliefs, Amy picks up Pell's pistol and shoots Pierce from behind, leaving only Frank Miller, who grabs Amy as a human shield to force Kane into the open. When Amy claws Miller's face, he pushes her to the ground, and Kane shoots him dead. Kane helps his bride to her feet and they embrace. As the townspeople cluster around him, Kane throws his marshal's star in the dirt and departs with Amy on their wagon.

STAGECOACH (John Ford, 1939)

In June 1880, a group of strangers boards the stagecoach from Tonto, Arizona Territory, to Lordsburg, New Mexico. Among them are Dallas, a prostitute driven out of town by the "Law and Order League"; the alcoholic Doc Boone; pregnant Lucy Mallory, who is travelling to join her cavalry officer husband; and whiskey salesman Samuel Peacock. Buck, the stage driver, looks for his shotgun guard, and Marshal Curley Wilcox tells him that the guard is off searching for the Ringo Kid. Ringo has broken out of prison after hearing that his father and brother were murdered by Luke Plummer. Buck tells Curley that Ringo is heading for Lordsburg. Knowing that Ringo has vowed vengeance, Curley decides to ride the stage as guard. As the stagecoach sets out, U.S. Cavalry Lieutenant Blanchard announces that Geronimo and his Apaches are on the warpath, and that the small cavalry troop will provide an escort to Dry Fork. Upon seeing her distress, gambler and Southern gentleman Hatfield offers his protection to Mrs. Mallory and climbs aboard. At the edge of town Henry Gatewood, a banker absconding with embezzled money, flags down the stage and joins the passengers. Further along the road, the stage comes across the Ringo Kid, stranded when his horse went lame. Though Curley and Ringo are friends, Curley takes Ringo into custody and crowds him into the coach. When they reach Dry Fork, they learn the expected cavalry detachment has gone on to Apache Wells. Buck wants to turn back, but most of the party votes to proceed. The group is taken aback when Ringo invites Dallas to sit at the main table for lunch. As they are eating Hatfield reveals that he served in the Confederate Army under the command of Mrs. Mallory's father in Virginia. At Apache Wells, Mrs. Mallory learns that her husband had been wounded in battle with the Apaches. When she faints and goes into labor, Doc Boone sobers up and delivers the baby with Dallas assisting. Later that night, Ringo asks Dallas to marry him and live on a ranch he owns in Mexico. Afraid to reveal her past, she does not answer immediately. The next morning, she accepts, but does not want to leave Mrs. Mallory and the new baby, so she tells Ringo to go on alone to his ranch, where she will meet him later. As Ringo is escaping, he sees smoke signals heralding an Apache attack and returns to custody. The stage reaches Lee's Ferry, which the Apaches have destroyed. Curley uncuffs Ringo to help lash logs to the stagecoach and float it across the river. Just when they think the danger has passed, Apaches attack. A long chase follows, where some of the party are injured fighting off their pursuers. Just as they run out of ammunition and Hatfield is getting ready to save Mrs. Mallory from capture by killing her with his last bullet, he himself is mortally wounded. The 6th U.S. Cavalry rides to the rescue. At Lordsburg Gatewood the banker is arrested by the local sheriff and Mrs. Mallory learns that her husband's wound is not serious. She thanks Dallas, who gives Mrs. Mallory her shawl. Dallas then begs Ringo not to confront the Plummers, but he is determined to settle matters. As they walk through town, he sees the brothel to which she is returning. Luke Plummer, who is playing poker in one of the saloons, hears of Ringo's arrival and gets his brothers to join him in a gunfight to kill Ringo. Ringo survives the three-against-one shootout that follows, then surrenders to Curley, expecting to go back to prison. As Ringo boards a wagon, Curley invites Dallas to ride with them to the edge of town; but when she does so Curley and Doc stampede the horses, letting Ringo ride off with Dallas to his ranch across the border.

GRAVE OF THE FIREFLIES (Isao Takahata, 1988)

In Kobe, the spirits of young war orphans Seita and Setsuko Yokokawa reunite and board a ghostly train as they recount how they survived the Bombing of Kobe in World War II. Akitani Pond: The site where Seita and Setsuko lived alone together In June 1945, a group of American Boeing B-29 Superfortress bombers destroy most of Kobe. Though Seita and Setsuko survive the bombing, their mother is severely injured and later dies. Seita conceals their mother's death from Setsuko in an attempt to keep her happy, which she later learns of despite Seita's efforts. Seita and Setsuko move in with a distant aunt, and Seita retrieves supplies he buried before the bombing and gives everything to his aunt, save for a tin of Sakuma drops. The aunt convinces Seita to sell his mother's silk kimono for rice as rations shrink and the number of refugees in the house grows. Seita uses some of his mother's money in the bank to buy supplies, but eventually, the aunt becomes resentful of the children, deeming them unworthy of earning her food. Seita and Setsuko leave their aunt's home after excessive insults, and they move into an abandoned bomb shelter. They release fireflies into the shelter for light. The next day, Setsuko is horrified to find that the insects have died. She buries them in a grave, asking why they and her mother had to die. As they run out of rice, Seita steals from farmers and loots homes during air raids, for which he is beaten and sent to the police by a farmer. The officer realizes Seita is stealing due to hunger and releases him. When Setsuko falls ill, a doctor explains that she is suffering from malnutrition. Desperate, Seita withdraws the last of the money in their mother's bank account. After doing so, he becomes distraught when he learns that Japan has surrendered, and that his father, an Imperial Japanese Navy captain, is most likely dead, as most of Japan's navy has been sunk. Seita returns to Setsuko with food, but finds her dying. She later dies as Seita finishes preparing the food. Seita cremates Setsuko's body and her stuffed doll in a straw casket. He carries her ashes in the candy tin along with his father's photograph. That September, Seita dies of starvation at a Sannomiya train station surrounded by other malnourished people, as shown in medias res. A janitor is tasked with removing the bodies before the arrival of the Americans. The janitor sorts through Seita's possessions and finds the candy tin, which he throws into a field. Setsuko's ashes spread out, and her spirit springs from the tin and is joined by Seita's spirit and a cloud of fireflies. They board a ghostly train and, throughout the journey, look back at the events leading to Seita's death. Their spirits later arrive at their destination, healthy and happy. Surrounded by fireflies, they rest on a hilltop bench overlooking present-day Kobe.

SCHINDLER'S LIST (Steven Spielberg, 1993)

In Kraków during World War II, the Nazis force local Polish Jews into the overcrowded Kraków Ghetto. Oskar Schindler, a German Nazi Party member from Czechoslovakia, arrives in the city, hoping to make his fortune. He bribes Wehrmacht (German armed forces) and SS officials, acquiring a factory to produce enamelware. Schindler hires Itzhak Stern, a Jewish official with contacts among black marketeers and the Jewish business community; he handles administration and helps Schindler arrange financing. Stern ensures that as many Jewish workers as possible are deemed essential to the German war effort to prevent them from being taken by the SS to concentration camps or killed. Meanwhile, Schindler maintains friendly relations with the Nazis and enjoys his new wealth and status as an industrialist. SS-Untersturmführer (second lieutenant) Amon Göth arrives in Kraków to oversee construction of the Płaszów concentration camp. When the camp is ready, he orders the ghetto liquidated: two thousand Jews are transported to Płaszów, and two thousand others are killed in the streets by the SS. Schindler witnesses the massacre and is profoundly affected. He particularly notices a young girl in a red coat who hides from the Nazis and later sees her body on a wagonload of corpses. Schindler is careful to maintain his friendship with Göth and continues to enjoy SS support, mostly through bribery. Göth brutalizes his Jewish maid Helen Hirsch and randomly shoots people from the balcony of his villa; the prisoners are in constant fear for their lives. As time passes, Schindler's focus shifts from making money to trying to save as many lives as possible. To better protect his workers, Schindler bribes Göth into allowing him to build a sub-camp at his factory. As the Germans begin losing the war, Göth is ordered to ship the remaining Jews at Płaszów to Auschwitz concentration camp. Schindler asks Göth for permission to move his workers to a munitions factory he plans to build in Brünnlitz near his hometown of Zwittau. Göth reluctantly agrees but charges a huge bribe. Schindler and Stern prepare a list of people to be transferred to Brünnlitz instead of Auschwitz. The list eventually includes 1,100 names. As the Jewish workers are transported by train to Brünnlitz, the women and girls are mistakenly redirected to Auschwitz-Birkenau; Schindler bribes Rudolf Höss, the commandant of Auschwitz, for their release. At the new factory, Schindler forbids the SS guards from entering the production area without permission and encourages the Jews to observe the Sabbath. Over the next seven months, he spends his fortune bribing Nazi officials and buying shell casings from other companies. Due to Schindler's machinations, the factory does not produce any usable armaments. He runs out of money in 1945, just as Germany surrenders. As a Nazi Party member and war profiteer, Schindler must flee the advancing Red Army to avoid capture. The SS guards at the factory have been ordered to kill the Jewish workforce, but Schindler persuades them not to do so. Bidding farewell to his workers, he prepares to head west, hoping to surrender to the Americans. The workers give him a signed statement attesting to his role in saving Jewish lives and present him with a ring engraved with a Talmudic quotation: "Whoever saves one life saves the world entire". Schindler breaks down in tears, feeling he should have done more, and is comforted by the workers before he and his wife leave in their car. When the Schindlerjuden awaken the next morning, a Soviet soldier announces that they have been liberated. The Jews then walk to a nearby town. An epilogue reveals that Göth was convicted of crimes against humanity and executed via hanging, while Schindler's marriage and businesses failed following the war. In the present, many of the surviving Schindlerjuden and the actors portraying them visit Schindler's grave and place stones on its marker (a traditional Jewish sign of respect for the dead), after which Liam Neeson lays two roses.

PEEPING TOM (Michael Powell, 1960)

In London, Mark Lewis (Carl Boehm) meets Dora (Brenda Bruce), a prostitute, covertly filming her with a camera hidden under his coat. Shown from the point of view of the camera viewfinder, he follows the woman into her flat, murders her, and later watches the film in his den. The following morning, Lewis films the police's removal of Dora's corpse from her home, posing as a reporter. Lewis is a member of a film crew who aspires to become a filmmaker himself. He also works part-time photographing soft-porn pin-up pictures of women, sold under the counter. He is a shy, reclusive young man who hardly socializes outside of his workplace. He lives in the house of his late father, renting most of it via an agent while posing as a tenant himself. Helen Stephens (Anna Massey), a sweet-natured young woman who lives with her blind mother in the flat below his, befriends him out of curiosity after he has been discovered spying on her 21st birthday party. Mark reveals to Helen through home films taken by his father that, as a child, he was used as a guinea pig for his father's psychological experiments on fear and the nervous system. Mark's father would study his son's reaction to various stimuli, such as lizards he put on his bed and would film the boy in all sorts of situations, even going as far as recording his son's reactions as he sat with his mother on her deathbed. He kept his son under constant watch and even wired all the rooms so that he could spy on him. Mark's father's studies enhanced his reputation as a renowned psychologist. Mark arranges with Vivian (Moira Shearer), a stand-in at the studio, to make a film after the set is closed; he then kills her and stuffs her into a prop trunk. The body is discovered later during shooting by Diane, a female cast member who has already antagonized the director by fainting for real at points which are not in the script. The police link the two murders and notice that each victim died with a look of utter terror on her face. They interview everyone on the set, including Mark, who always keeps his camera running, claiming that he is making a documentary. Helen goes out to dinner with Mark, even persuading him to leave his camera behind for once, and briefly kisses him once they return. Her mother, Mrs. Stephens, finds his behavior peculiar, being aware, despite her blindness, that Mark often looks through Helen's window. Mrs. Stephens is waiting inside Mark's flat after his evening out with her daughter. Unable to wait until she leaves due to his compulsion, he begins screening his latest snuff film with her still in the room. She senses how emotionally disturbed he is and threatens to move, but Mark reassures her that he will never photograph or film Helen. A psychiatrist is called to the set to console Diane. He chats with Mark and is familiar with his father's work. The psychiatrist relates the details of the conversation to the police, noting that Mark has "his father's eyes". Mark is tailed by the police to the newsagents, where he takes photographs of the pin-up model Milly (Pamela Green). Slightly later, it emerges that Mark has killed Milly before returning home. Helen, who is curious about Mark's films, finally runs one of them. She becomes visibly upset and then frightened when he catches her. Mark reveals that he makes the films so that he can capture the fear of his victims. He has mounted a round mirror atop his camera so that he can capture the reactions of his victims as they see their impending deaths. He points the tripod's knife towards Helen's throat but refuses to kill her. The police arrive and Mark realizes he is cornered. As he planned from the very beginning, he impales himself on the knife with the camera running, providing the finale for his documentary. The last shot shows Helen crying over Mark's dead body as the police enter the room.

REBEL WITHOUT A CAUSE (Nicholas Ray, 1955)

In Los Angeles during the mid-1950s, teenager Jim Stark is arrested and taken to the juvenile division of a police station for public intoxication. At the station he crosses paths with John "Plato" Crawford, who was brought in for killing a litter of puppies, and Judy, who was brought in for curfew violation. The three each separately reveal their innermost frustrations to the officers; all three of them suffer from problems at home: Jim feels anguished by his constantly bickering parents, Frank and Carol, but even more so by his timid father's failure to stand up to Carol; the issues are further complicated by Frank's interfering mother. His frustrations are made manifest to officer Ray Fremick when Jim is released to their custody. Judy is convinced that her father ignores her because she is no longer a little girl, so she dresses up in racy clothes to get attention, which only causes her father to call her a "dirty tramp". Plato's father abandoned his family when he was a toddler, and his mother is often away from home, leaving Plato in the care of his housekeeper. On the way to his first day at Dawson High, Jim again meets Judy and offers her a ride. Seemingly unimpressed by Jim at first, she declines and is instead picked up by her "friends", a gang of delinquents led by Buzz Gunderson. Jim is shunned by the rest of the student body but is befriended by Plato, who comes to idolize Jim as a father figure. After a field trip to Griffith Observatory, Buzz provokes and challenges Jim to a knife fight; Jim bests Buzz by knocking his switchblade out of his hand, then throws his blade away. To preserve his status as gang leader, Buzz suggests stealing some cars to have a "Chickie Run" at a seaside cliff.[7] At home, Jim ambiguously asks his father about defending one's honor in a dangerous situation, but Frank advises him against confrontation of any kind. That night, during the chickie run, Buzz plunges to his death when the strap on his jacket sleeve becomes entangled with his door-latch lever, preventing him from exiting the car. As police approach, the gang flees, leaving Judy behind, but Jim persuades her to leave with him and Plato. Jim confronts his father while his mother watches. Jim later confides to his parents his involvement in the crash and considers turning himself in. When Carol declares they are moving again, Jim pleads with Frank to stand up for him. When Frank refuses, Jim attacks him in frustration, then storms off to the police station to confess, only to be turned away by the desk sergeant. Jim drives back home, finding Judy waiting for him. She apologizes for her prior treatment of him due to peer pressure, and the two begin to fall in love. Agreeing to never return to their respective homes, Jim suggests they visit an old deserted mansion Plato told him about. Meanwhile, Plato is intercepted by three members of Buzz's gang, who are convinced that Jim betrayed them to the police. They steal Plato's address book and pursue Jim; Plato retrieves his mother's gun and leaves to warn Jim and Judy, finding them at the mansion. The three new friends act out a fantasy as a family. Plato then falls asleep, and Jim and Judy leave to explore the mansion, where they share their first kiss. Buzz's gang find and wake up Plato, who, frightened and distraught, shoots and wounds one of the gang. When Jim returns, he attempts to restrain Plato, who flees, accusing Jim of abandoning him. Plato runs to the observatory and barricades himself inside as more police converge including Fremick who, with Frank and Carol, have been searching for Jim. Jim and Judy follow Plato into the observatory, where Jim persuades Plato to trade the gun for his red jacket; Jim quietly removes the ammunition before returning it, and then convinces Plato to come outside. But when the police notice that Plato still has the gun they shoot Plato dead as he charges them, unaware that Jim had removed the bullets. Frank comforts his grieving son, vowing to be a stronger father. Now reconciled with his parents, Jim introduces them to Judy.

NEWS FROM HOME (Chantal Akerman, 1976)

In November 1971, at the age of 21, Belgian film director Chantal Akerman moved to New York City. There she took petty jobs, made films and befriended filmmakers such as Jonas Mekas and the cinematographer Babette Mangolte, who became one of her recurring collaborators. According to Akerman, she spent the period living "like a vagabond."[1] Principal photography for News from Home took place in the summer of 1976, three years after Akerman had returned to Belgium and after she had achieved critical success with the 1975 film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. Locations chosen for News from Home correspond to the areas where Akerman used to take walks, which include the Times Square subway station and a long shot driving up Tenth Avenue from 30th to 49th Streets in Hell's Kitchen. Other scenes were filmed in Tribeca and on the Staten Island Ferry. The sound was not recorded along with the images, but was added later.[1]

FRENCH CANCAN (Jean Renoir, 1955)

In Paris in the 1890s, Henri Danglard owns a night club where the star turn is a belly dance by his mistress Lola. Going after the show one night to an old-fashioned dance hall in Montmartre, he sees people doing the cancan together and is struck by the suppleness and charm of a young laundry girl called Nini. He persuades her to take dancing lessons for a new venture he is planning. As his club has failed and Lola has left him, his idea is to open another place with a troupe of glamorous girls performing the cancan. Naming it the Moulin Rouge, its opening night is a thunderous success.

THE MOTHER AND THE ***** (Jean Eustache, 1973)

In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as The Working Class Goes to Heaven. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-something nurse. In the midst of the sexual revolution, Veronika is highly promiscuous, and begins to make advances on Alexandre. During the summer of 1972, Alexandre and Marie are nude in bed in their apartment when Veronika visits. Marie lets her in and Veronika insults both of them, but acknowledges she is not pure herself. The three begin a ménage à trois and sleep in the same bed, with Veronika assuring Alexandre she and Marie both love him, and telling him to be more happy with his situation and life. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. As the three sit together, Veronika attempts to reassure Marie about her looks and body. Tearfully, Veronika speaks about how she believes no women are truly whores, and how love is meaningless unless it produces a child.

SHOOT THE PIANO PLAYER (François Truffaut, 1960)

In Paris, Édouard Saroyan hits rock bottom after his wife Thérèse confesses that his career as a concert pianist is due to her having slept with a top agent, and when he fails to respond, she kills herself. Under the assumed name of Charlie Koller, he now strokes the keys in Plyne's bar, and when she has no clients, he spends the rest of the night with Clarisse, a prostitute who cooks for his little brother Fido. Léna, the bar's waitress, is falling in love with Charlie, and she secretly knows his true identity. When his two older brothers steal the loot of a pair of gangsters,[2] the gangsters abduct Charlie and Léna, who escape through Léna's quick thinking. Léna takes him to her room, where they make love. The gangsters then abduct Fido, who reveals his brothers' mountain hideout. Léna realises that the gangsters traced Charlie and Fido through Plyne, who wants to sleep with her and who is jealous of Charlie's luck. In a confrontation at the bar, Charlie accidentally kills Plyne, and Léna then smuggles him from Paris to the mountain hideout. Léna is killed in a shoot-out when the gangsters arrive with Fido. Differences from novel[edit] The film shares the novel's bleak plot about a man hiding from his shattered life by doing the only thing he knows how to do while remaining unable to escape the past. However, Truffaut's work resolves itself into both a tribute to the American genre of literary and cinematic film noir and a meditation on the relationship between art and commercialism.[citation needed] Truffaut significantly changes Charlie's personality. Originally, Goodis's Edward Webster Lynn (whom Truffaut adapts as Charlie) is "pictured as a relatively strong, self-confident guy who has chosen his solitude [whereas] Truffaut's Charlie Kohler has found his isolation inevitably; he was always shy, withdrawn, reclusive".[3]

DISTANT VOICES, STILL LIVES (Terence Davies, 1988)

In Paul Farley's British Film Institute Modern Classics book on Distant Voices, Still Lives, Terence Davies describes how they chose the location for filming: The house where I grew up was demolished in 1961. And it was unique... I was able to rebuild it for The Long Day Closes, but we didn't have a huge budget for Distant Voices, Still Lives, so we had to find something that looked... working class. A working-class street, and we shot in Drayton Park, but there were no cellars, so it wasn't like our house... We had to go with what was there, because we didn't have the money. So that was a practical thing. Kensington Street, Liverpool, L7 8XD This small street of Victorian terraced houses to the north of Kensington was the childhood home to Terence Davies and his family. The Victorian houses in Kensington Street were demolished in 1961 and replaced at a later date by a low-rise Council estate and two industrial units. However, houses very similar to those in Kensington Street remain to the south of Kensington in streets such as Albany Road, L7 8RG and Saxony Road, L7 8RU. 47 Whistler Street, London, N5 1NJ The central location for the filming of Distant Voices, Still Lives was chosen for its architectural similarity to Davies's childhood home in Kensington Street, Liverpool. 47 Whistler Street is a small terraced house in row of similar Victorian houses located in north London on the edge of Highbury Fields. The street can be accessed from the park via a small alleyway, or from Drayton Park, the main road behind the street. The houses on the west side of Whistler Street are bay-fronted and were chosen to depict the actual family home. The houses on the east side are flat-fronted and therefore rarely shown in the film sequences. However, a house on the eastern side of the street is used in the final scene where the group leave Tony's wedding celebration and walk into the darkness. The Futurist, Lime Street, Liverpool The Futurist was the location which inspired the film's (arguably) most artistic sequence in which the two sisters, Eileen and Maisie, attend a screening of Love is a Many Splendored Thing whilst unknown to them, their brother and Maisie's husband, George, have a serious accident. The Futurist was Liverpool's first purpose-built and longest-surviving cinema, opening in 1912. It was an ornate city centre cinema with a tiled Edwardian facade and 1,029 seats in the stalls and circle auditorium - the latter richly decorated with plasterwork in the French Renaissance style. The cinema lasted nearly 70 years and closed its doors for the final time in 1982, before being demolished in 2016. Jubilee Drive, Liverpool, L7 8SL This Victorian street in the Kensington Fields area of east Liverpool was the street where Monica (Micky) lived and begged Eileen to come and visit. "So don't be a stranger - otherwise we'll not see you till next Preston Guild. We're only in Jubilee Drive." Formby Sands Monica, Jingles and Eileen pitch their tent at Formby sands - a scene which is used to remind Eileen of the free and happy life she lived before her marriage to Dave. Pwllheli Although more famous in later years for the Butlins holiday parks, in the 1940s this Welsh seaside town was an upmarket location with high-quality hotels. Teenagers from Liverpool and Manchester would work in these hotels in the summer season. In the film, Eileen, Monica and Jingles are seen working as waitresses in the breakfast hall of an (unnamed) large hotel.

RED DESERT (Michelangelo Antonioni, 1964)

In Ravenna, Italy, Giuliana is walking with her young son, Valerio, towards the petrochemical plant managed by her husband, Ugo. Passing workers who are on strike, Giuliana nervously and impulsively purchases a half-eaten sandwich from one of the workers. They are surrounded by strange industrial structures and debris that create inhuman images and sounds. Inside the plant, Ugo is speaking with a visiting business associate, Corrado Zeller, who is looking to recruit workers for an industrial operation in Patagonia, Argentina. Ugo and Corrado converse comfortably in the noisy factory when Giuliana arrives. Ugo introduces Corrado to Giuliana who departs to wait in Ugo's office. Ugo later tells Corrado that his wife had a recent auto accident, and though she was physically unhurt, she has not been right mentally. That night in their apartment, Giuliana becomes highly agitated and fearful over a dream she had about sinking in quicksand. Ugo is unable to calm her or understand what she's experiencing. Corrado visits her at an empty shop she's planning to open and talks about his life and the restless nature of his existence. She accompanies him to Ferrara on one of his worker recruitment drives, and she indirectly reveals details about her mental state. She tells him that when she was in the hospital, she met a young woman patient who was advised by her doctors to find someone or something to love. She speaks of the young woman feeling like there was "no ground beneath her, like she was sliding down a slope, sinking, always on the verge of drowning." They travel to a radio observatory in Medicina, where Corrado hopes to recruit a top worker. Surrounded by cold industrial architecture, Giuliana seems lost in her loneliness and isolation. The following weekend, Giuliana, Ugo, and Corrado are walking beside a polluted estuary when they meet up with another couple, Max and Linda, and together they drive to a small riverside shack at Porto Corsini where they meet Emilia. They spend time in the shack engaged in trivial small talk filled with jokes, role-playing, and sexual innuendo. Giuliana seems to find temporary solace in these mindless distractions. In a dense fog, a mysterious ship docks directly outside their shack. During their conversations, Corrado and Giuliana have grown closer, and he shows interest and sympathy for her. When a doctor arrives to board the ship, Giuliana, seeing that the ship is now quarantined due to an infectious disease, rushes off in a state of panic almost driving off the pier. Sometime later, Ugo leaves on a business trip, and Giuliana spends more time with Corrado, revealing more about her anxieties. One day, her son becomes suddenly paralyzed from the waist down. Fearing he has contracted polio, Giuliana tries to comfort him with a story about a young girl who lives on an island and swims off a beach at an isolated cove. The girl is at home with her surroundings, but after a mysterious sailing ship approaches offshore, all the rocks of the cove seem to come alive and sing to her in one voice. Soon after, Giuliana discovers to her shock that Valerio was only pretending to be paralyzed. Unable to imagine why her son would do such a cruel thing, Giuliana's sense of loneliness and isolation returns. Desperate to end her inner turmoil, Giuliana goes to Corrado's room. Giuliana is distraught and begins to disrobe. Initially resisting Corrado's advances, the two make love in his bed. The intimacy, however, does little to relieve Giuliana's sense of isolation. Corrado drives Giuliana to her empty shop, where she remarks that there is something "awful" about reality. Later, Giuliana wanders to a dockside ship where she meets a foreign sailor and asks if the ship takes passengers. She tries to communicate her feelings to him, but he cannot understand her words. Acknowledging the reality of her isolation, she says, "We are all separate." Later in the daytime, Giuliana is walking with her son near her husband's plant. Valerio notices a nearby smokestack emitting poisonous yellow smoke and wonders if birds are being killed by the toxic emissions. Giuliana tells him that the birds have learned not to fly near the smoke.

THE MALTESE FALCON (John Huston, 1941)

In San Francisco in 1941, private investigators Sam Spade and Miles Archer meet prospective client Ruth Wonderly. She claims to be looking for her missing sister, who ran off from their home in New York and came to the city with a man named Floyd Thursby. Archer agrees to help get her sister back. However, later that night, the police inform Spade that Archer has been killed. Spade tries calling his client at her hotel to discover she has checked out. Back at his apartment, he is grilled by Police Detective Tom Polhaus and Lieutenant Dundy, who tell him that Thursby was murdered the same evening. Dundy suggests that Spade had the opportunity and motive to kill Thursby, who likely killed Archer. Later that morning, Spade meets Wonderly, now calling herself Brigid O'Shaughnessy, who confesses that her story was made up. However, she convinces Spade to investigate the murders and also reveals that Thursby was her partner. He took advantage of her and probably killed Archer, but she claims to have no idea who killed Thursby. At his office, Spade meets Joel Cairo, who first offers him $5,000 to find a "black figure of a bird". When Spade is skeptical, Cairo pulls a gun on him and searches the room for it. Spade knocks Cairo out and goes through his belongings. When Cairo comes round, he hires Spade. From the trailer: Gutman and Cairo meet with Spade. Spade confronts O'Shaughnessy. On his way to visit O'Shaughnessy later that evening, Spade is followed by a young man but manages to evade him. When he tells O'Shaughnessy about Cairo, her nervousness indicates she knows him. He arranges a meeting between the two at his apartment, where Cairo becomes agitated when O'Shaughnessy reveals that the "Fat Man" is in San Francisco. When Spade goes to Cairo's hotel in the morning, he spots Wilmer Cook, the young man who trailed him earlier. Wilmer works for Kasper Gutman, the "Fat Man". In his hotel suite, Gutman relates the history of the Maltese Falcon, then offers Spade his pick of $25,000 for the bird and another $25,000 after its sale, or a quarter of the proceeds from its sale. Spade passes out because his drink is spiked. Wilmer and Cairo come in from another room and leave with Gutman. On coming round, Spade searches the suite and finds a newspaper with the arrival time of the freighter La Paloma circled. He goes to the dock, only to find the ship on fire. Later, the ship's captain Jacoby is shot several times and staggers into Spade's office before dying. The bundle he was clutching contains the Maltese Falcon. O'Shaughnessy calls the office, gives an address, then screams before the line goes dead. Spade stashes the package at the bus terminal, then goes to the address, which turns out to be an empty lot. Spade returns home to discover O'Shaughnessy hiding in a doorway. He takes her inside and finds Gutman, Cairo, and Wilmer waiting for him, guns drawn. Gutman gives Spade $10,000 for the Falcon, but Spade tells them that part of his price is someone he can turn over to the police for the murders of Thursby and Captain Jacoby, suggesting Wilmer. After some intense negotiation, Gutman and Cairo agree and Wilmer is knocked out and disarmed. Just after dawn, Spade calls his secretary, Effie Perine, to bring him the bundle. However, when Gutman inspects the statuette, he finds it is a fake and Wilmer escapes during the tumult. Recovering his composure, Gutman invites Cairo to return with him to Istanbul to continue their quest. After they leave, Spade calls the police and tells them where to pick up the pair. Spade then angrily confronts O'Shaughnessy, telling her he knows she killed Archer to implicate Thursby, her unwanted accomplice. She confesses, but begs Spade not to turn her over to the police. Despite his feelings for her, Spade gives O'Shaughnessy up, then submits the statuette as evidence, describing it as "the stuff that dreams are made of".

SAWDUST AND TINSEL (Ingmar Bergman, 1953)

In Sawdust and Tinsel, Bergman depicts the battle between sexes as a grotesque carnival of humiliation. Set in the turn of the twentieth-century Sweden, the story begins in the outdoor area of the circus, where the clown Frost (Anders Ek) is informed that a beautiful lady is bathing nude in the sea near the coast where the circus is set. He later finds out that the lady is his wife and he tries to cover her up by blocking her body with his. We are then introduced to the circus owner and ringmaster Albert Johansson (Åke Grönberg) and his young mistress, Anne (Harriet Andersson) who is the horseback rider of the circus. The circus members advertise by marching in the street, but a police officer stops them. When asked for a permit, they play around and humiliate the police, leading to the confiscation of several of their horses. Later, in the main circus tent, they talk about their financial situation and the fate of the circus. Albert and Anne are having problems, as it appears that Albert has gotten tired of the circus and Anne, and wants to go back to his wife and child whom he left three years ago. Out of desperation, Albert and Anne try to preserve the circus by meeting a theatre director, Mr. Sjuberg (Gunnar Björnstrand), and begging him for assistance. Mr. Sjuberg insults Albert and his wife's appearances which he believed looked ridiculous and overdressed, but he lets them borrow some clothes. When asked for the payment, Mr. Sjuberg says that it would be paid by seeing one of their performances. In the theatre, Anne meets Frans (Hasse Ekman) who lusts for her, and constantly flirts with her, but Anne rejects him. When Anne and Albert go back to their trailer, she begs him not to leave her and to marry her instead. Albert is still determined to go back to his wife, Agda (Annika Tretow). When he goes to Agda's house and has a retrospective conversation, he reveals that he is in a dire financial situation and would like to sell out the circus and help her out with her shop. He begs to stay the night, but she asks him to leave. Meanwhile, the desperate Anne goes to the theatre to meet Frans. They have a teasing conversation which leads to arm wrestling; he beats her at it and then wrestles her to the ground. He tells her about an amulet which was given to him by a grateful woman, saying that Anne could sell the amulet and live off the money for a year. He offers the amulet to her if she has sexual intercourse with him, and also refuses to let her leave until she does. After they have sex, she walks into a shop and is seen by Albert. The enraged Albert confronts Anne in the trailer. At first, she lies but after he endeavors in trying to get the truth out of her, she admits that she had sex with Frans, saying that he "practically raped" her. The conversation is interrupted when Frost goes into the trailer drunk and Albert joins him, Albert schemes to shoot the bear. He goes out of the trailer and shouts in a crazed manner. They prepare for a circus performance playing shortly. After a clown act, Anne begins her horseback riding that is constantly interrupted by Frans's catcalling, he is sitting in the front and part of the audience. One of the audience members throws a rock at the horse, this disruption of the performance gives a chance for Albert to whip Frans's forehead. Frans goes into the ring and slaps Albert's face. Mr. Sjuberg who was invited earlier, starts a fight between the two, an honorable one without whips or tools. Albert and Frans brawl. Albert falls down and attempts to grab onto Frans's legs but fails, and Albert ultimately loses. Frost and other circus member stop the fight and Anne cries and hits Frans. That night, Albert contemplates suicide and puts a gun to his head. Everyone is concerned as he had locked himself up and would not open up the door. Frost and his wife, Alma, try to comfort Albert, who later goes to the cage and shoots the bear. He goes into a horse shed and weeps. When a circus member comes over, he screams at him and orders him to prepare to move the circus. In the end, they travel out of the setting and Albert and Anne both stare at each other.

TROUBLE IN PARADISE (Ernst Lubitsch, 1932)

In Venice, Gaston Monescu (Herbert Marshall), a master thief masquerading as a baron, meets Lily (Miriam Hopkins), a beautiful pickpocket posing as a countess. The two fall in love and decide to team up. They leave Venice for Paris. There, Gaston steals a diamond-encrusted purse worth 125,000 francs from Madame Mariette Colet (Kay Francis), owner of the famous perfume manufacturer Colet and Co. When Mariette offers a large reward for its return, Gaston claims it, giving the name of Lavalle. While claiming the reward, Gaston charms Mariette, and admits to being broke. Mariette hires him as her private secretary. He arranges for Lily to be employed in Mariette's office, and stands up to Mariette's board of directors, led by Monsieur Adolph J. Giron (C. Aubrey Smith), the manager, who is openly suspicious of him. Having observed Mariette open her private safe (and memorized the combination), Gaston persuades her that she should keep a large sum there, including half of her next dividend installment. Mariette begins to flirt with Gaston, and he begins to have feelings for her. Unfortunately for the thieves, Mariette has two suitors: the Major (Charles Ruggles), and François Filiba (Edward Everett Horton), who was robbed in Venice by Gaston (posing as a doctor). François sees Gaston at a garden party, and is sure they have met, but can't immediately recall where. Fearing imminent discovery, Gaston and Lily decide to flee that night with what is in the safe, and not wait for the dividend installment. Mariette is invited to a dinner party given by the Major. She cannot decide whether to go or to spend the night in bed with Gaston. Eventually she goes, but not before Lily catches on that Gaston has fallen for her rival, and wants to back out of the plan. At the party, the Major tells François that he once mistook Gaston for a doctor, and François then recalls the Venice incident. François tells Mariette about Gaston, but she refuses to believe it's true. Lily robs the safe after confronting her partner. Mariette returns home and suggestively probes Gaston, who admits that the safe has been cleaned out, but claims that he took the cash. He also tells her that Monsieur Giron has stolen millions from the firm over the years. Lily then confronts Mariette and Gaston, admitting that it was she who stole the money from the safe. She says at first that she doesn't want the money—then says she might as well get it in exchange for Gaston, and leaves. Gaston goes after Lily, then returns to say goodbye to Mariette. He tells her that as marvelous as their affair would be, it would end with a policeman coming to arrest them both. As he leaves, Gaston reveals that he took her pearl necklace—which he describes as her gift to Lily—which makes her smile. In the taxi, facing a chilly Lily, Gaston reaches for his present, only to realize she's lifted it from his pocket. Lily is at first triumphant, then realizes Gaston has lifted the money from her. This echoes their original meeting, when they first became partners in crime, and she embraces him in delight as the cab rolls away.

SHADOWS OF OUR FORGOTTEN ANCESTORS (Sergei Parajanov, 1964)

In a small Hutsul village in the Carpathian mountains of Ukraine, a young man, Ivan, falls in love with the daughter of the man who killed his father. Though their families share a bitter enmity, Ivan and Marichka have known each other since childhood. In preparation for their marriage, Ivan leaves the village to work and earn money for a household. While he is gone, Marichka accidentally slips into a river and drowns while trying to rescue a lost lamb. Ivan returns and falls into despair after seeing Marichka's body. He continues to work, enduring a period of joyless toil, until he meets another woman, Palahna, while shoeing a horse. Ivan and Palahna get married in a traditional Hutsul wedding in which they are blindfolded and yoked together. The marriage quickly turns sour, however, as Ivan remains obsessed with the memory of Marichka. Estranged from her emotionally distant husband, Palahna becomes involved with a local molfar Yurko, while Ivan begins to experience hallucinations. At a tavern, Ivan sees the molfar embrace Palahna and strike one of his friends. Roused into an uncharacteristic fury, Ivan snatches up his axe, only to be struck down by the molfar. Ivan stumbles into the nearby woods and perceives Marichka's spirit to be with him, reflected in the water and gliding amongst the trees. As reality merges into dream, the colourless shade of Marichka reaches out across a great space and touches Ivan's outstretched hand. Ivan screams and dies. The community gives him a traditional Hutsul burial while children watch through cross braced windows.

WINGS OF DESIRE (Wim Wenders, 1987)

In a Berlin divided by the Berlin Wall, two angels, Damiel and Cassiel, watch the city, unseen and unheard by its human inhabitants. They observe and listen to the thoughts of Berliners, including a pregnant woman in an ambulance on the way to the hospital, a young prostitute standing by a busy road, and a broken man who feels betrayed by his wife. Their raison d'être is, as Cassiel says, to "assemble, testify, preserve" reality. Damiel and Cassiel have always existed as angels; they were in Berlin before it was a city, and before there were any humans. Among the Berliners they encounter in their wanderings is an old man named Homer, who dreams of an "epic of peace". Cassiel follows the old man as he looks for the then-demolished Potsdamer Platz in an open field, and finds only the graffiti-covered Wall. Although Damiel and Cassiel are pure observers, visible only to children, and incapable of any interaction with the physical world, Damiel begins to fall in love with a profoundly lonely circus trapeze artist named Marion. She lives by herself in a caravan in West Berlin, until she receives the news that her group, the Circus Alekan, will be closing down. Depressed, she dances alone to the music of Crime & the City Solution, and drifts through the city. Meanwhile, actor Peter Falk arrives in West Berlin to make a film about the city's Nazi past. Falk was once an angel, but, having grown tired of always observing and never experiencing, renounced his immortality to become a participant in the world. Also growing weary of infinity, Damiel's longing is for the genuineness and limits of human existence. He meets Marion in a dream, and is surprised when Falk senses his presence and tells him about the pleasures of human life. The graffiti on the Berlin Wall is depicted in the film. Damiel is finally persuaded to shed his immortality. He experiences life for the first time: he bleeds, sees colours, tastes food and drinks coffee. Meanwhile, Cassiel taps into the mind of a young man just about to commit suicide by jumping off a building. Cassiel tries to save the young man but is unable to do so, and is left tormented by the experience. Sensing Cassiel's presence, Falk reaches out to him as he had Damiel, but Cassiel is unwilling to follow their example. Eventually, Damiel meets the trapeze artist Marion at a bar during a concert by Nick Cave, and she greets him and speaks about finally finding a love that is serious and can make her feel complete. The next day, Damiel considers how his time with Marion taught him to feel amazed, and how he has gained knowledge no angel is capable of achieving.

DAY OF WRATH (Carl Theodor Dreyer, 1943)

In a Danish village in 1623, an old woman known as Herlof's Marte is accused of witchcraft. Anne, a young woman, is married to the aged local pastor, Absalon Pedersson, who is involved with the trials of witches, and they live in a house shared with his strict, domineering mother Meret. Meret does not approve of Anne, who is much younger than her husband, being about the same age as the son from his first marriage. Anne gives Herlof's Marte refuge, but Marte is soon discovered in the house, though she is presumed to have hidden herself there without assistance. Herlof's Marte knows that Anne's mother, already dead at the time of the events depicted, had been accused of witchcraft as well, and had been spared thanks to Absalon's intervention, who aimed at marrying young Anne. Anne is thus informed by Herlof's Marte of her mother's power over people's life and death and becomes intrigued in the matter. Absalon's son from his first marriage, Martin, returns home from abroad and he and Anne are immediately attracted to each other. She does not love her husband and thinks he does not love her. Under torture, Herlof's Marte confesses to witchcraft, defined among other evidence as wishing for the death of other people. She threatens to expose Anne if Absalon does not rescue her from a guilty verdict, begging him to save her as he saved Anne's mother. Marte, after pleading with Absalon a second time, does not betray his secret and is executed by burning with the villagers looking on. Absalon feels his guilt over having saved Anne's mother, but leaving Marte to burn. Anne and Martin, clandestinely growing closer, are seen as having changed in recent days, fueling Meret's suspicion of Anne's character. Anne is heard laughing in Martin's company by her husband, something which has not occurred in their time together. Absalon regrets that he married Anne without regarding her feelings and true intentions, and tells her so, apologizing for stealing her youth and happiness. A violent storm erupts while Absalon is away visiting a dying young parishioner, Laurentius. He had been cursed by Herlof's Marte during her interrogation and she foretold an imminent death. Meanwhile, Anne and Martin are discussing the future, and she is forced to admit wishing her husband dead, but only as an "if" rather than it actually happening. At that moment Absalon, on his way home, feels "like the touching of Death itself." On Absalon's return, Anne confesses her love for Martin to her husband and tells him she wishes him dead. He collapses and dies, calling Martin's name. Anne screams. The following morning Martin is overcome by his own doubts. Anne declares that she had nothing to do with his father's death, which she sees as providential help from above to release her from her present misery and unhappy marriage. At Absalon's funeral, Anne is denounced by Meret, her mother-in-law, as a witch. Anne initially denies the charge, but when Martin sides with his grandmother she is faced with the loss of his love and trust, and she confesses on her husband's open coffin that she murdered him and enchanted his son with the Devil's help. Her fate appears sealed.[2]

NAKED (Mike Leigh, 1993)

In a Manchester alley, Johnny Fletcher rapes a woman. When her family arrive and chase him away, he steals a car and flees to Dalston, a "scrawny, unpretentious area" in east London. He seeks refuge at the home of Louise, a former girlfriend from Manchester, who is not happy to see him. Louise works as a file clerk and lives with two flatmates, the unemployed Sophie, whom she calls her "hippy-dippy friend", and the primary tenant Sandra, a nurse who is away in Zimbabwe. Johnny seduces Sophie while treating Louise coldly, but soon tires of her. He leaves and walks around central London, expounding his world view at length to anyone who will listen. Among the people he meets are Archie, a young Scottish man looking for his girlfriend Maggie on Brewer Street, and Brian, a security guard who looks after an empty office building at night, which Johnny calls "the most tedious job in England", while planning to move to a seaside cottage in the future.[3] After pursuing a drunk woman and rejecting her when he notices a skull and crossbones tattoo on her shoulder, Johnny follows a young cafe worker home but is thrown out when she starts crying. He hitches a ride with a man hanging posters around town until the man, exasperated by Johnny's nonstop haranguing, throws him down in the street and kicks him before driving off with Johnny's duffel bag containing his clothes and books. Johnny wanders the streets and is severely beaten by a wandering gang of thugs. He returns to Louise's residence to find that their landlord Jeremy (aka Sebastian), a psychotic and amoral yuppie and rapist, has let himself into the apartment and raped Sophie. Sophie is desperate to get Jeremy out of the house, but she and Louise fear the police will not help. They try to keep the injured Johnny quiet, but he has a fit that awakens the sleeping Jeremy. Sandra returns early from her trip. Though horrified by the state of the apartment, she tends to Johnny's injuries. Louise drives Jeremy from the house by feigning interest in him, then pulling a knife on him. He departs, leaving behind several hundred pounds. Feeling desolate and rejected, Sophie flees the house with her few possessions. Louise and Johnny seemingly reconcile and discuss returning to Manchester together, but once she leaves for work, Johnny steals the money and hobbles out into the streets.In a Manchester alley, Johnny Fletcher rapes a woman. When her family arrive and chase him away, he steals a car and flees to Dalston, a "scrawny, unpretentious area" in east London. He seeks refuge at the home of Louise, a former girlfriend from Manchester, who is not happy to see him. Louise works as a file clerk and lives with two flatmates, the unemployed Sophie, whom she calls her "hippy-dippy friend", and the primary tenant Sandra, a nurse who is away in Zimbabwe. Johnny seduces Sophie while treating Louise coldly, but soon tires of her. He leaves and walks around central London, expounding his world view at length to anyone who will listen. Among the people he meets are Archie, a young Scottish man looking for his girlfriend Maggie on Brewer Street, and Brian, a security guard who looks after an empty office building at night, which Johnny calls "the most tedious job in England", while planning to move to a seaside cottage in the future.[3] After pursuing a drunk woman and rejecting her when he notices a skull and crossbones tattoo on her shoulder, Johnny follows a young cafe worker home but is thrown out when she starts crying. He hitches a ride with a man hanging posters around town until the man, exasperated by Johnny's nonstop haranguing, throws him down in the street and kicks him before driving off with Johnny's duffel bag containing his clothes and books. Johnny wanders the streets and is severely beaten by a wandering gang of thugs. He returns to Louise's residence to find that their landlord Jeremy (aka Sebastian), a psychotic and amoral yuppie and rapist, has let himself into the apartment and raped Sophie. Sophie is desperate to get Jeremy out of the house, but she and Louise fear the police will not help. They try to keep the injured Johnny quiet, but he has a fit that awakens the sleeping Jeremy. Sandra returns early from her trip. Though horrified by the state of the apartment, she tends to Johnny's injuries. Louise drives Jeremy from the house by feigning interest in him, then pulling a knife on him. He departs, leaving behind several hundred pounds. Feeling desolate and rejected, Sophie flees the house with her few possessions. Louise and Johnny seemingly reconcile and discuss returning to Manchester together, but once she leaves for work, Johnny steals the money and hobbles out into the streets.

BRIDE OF FRANKENSTEIN (James Whale, 1935)

In a castle on a stormy night, Percy Bysshe Shelley and Lord Byron praise Mary Shelley for her story of Frankenstein and his Monster. She reminds them that her intention for writing the novel was to impart a moral lesson, the consequences of a mortal man who tries to play God. Mary says she has more of the story to tell. The scene shifts to the end of the 1931 Frankenstein, in 1899. Villagers gathered around the burning windmill cheer the apparent death of the Monster. Hans, the father of the girl the creature drowned in the previous film, wants to see the Monster's bones. He falls into a flooded pit underneath the mill, where the Monster—having survived the fire—strangles him. Hauling himself from the pit, the Monster casts Hans' wife to her death. He next encounters Frankenstein's servant Minnie, who flees in terror. The body of Henry Frankenstein, who is thought to have died at the windmill, is returned to his fiancée Elizabeth at his ancestral castle home. Minnie arrives to sound the alarm about the Monster, but her warning goes unheeded. Elizabeth, seeing Henry move, realizes he is still alive. Nursed back to health by Elizabeth, Henry has renounced his creation, but still believes he may be destined to unlock the secret of life and immortality. A hysterical Elizabeth cries that she foresees death. Henry visits the lab of his former mentor Doctor Septimus Pretorius, where Pretorius shows Henry several homunculi he has created. Pretorius wishes to work with Henry to create a mate for the Monster, with the proposed venture involving Pretorius growing an artificial brain while Henry gathers parts for the mate. The Monster saves a young shepherdess from drowning. Her screams upon seeing him alert two hunters, who shoot and injure the Monster. The hunters raise a mob that sets out in pursuit. Captured and trussed to a pole, the Monster is hauled to a dungeon and chained. Left alone, he breaks his chains, overpowers the guards, and escapes into the woods. That night, following the sound of a violin playing "Ave Maria", the Monster encounters an old blind hermit who thanks God for sending him a friend. He teaches the monster words like "friend" and "good" and shares a meal with him. Two lost hunters stumble upon the cottage and recognize the Monster. He attacks them and accidentally burns down the cottage as the hunters lead the hermit away. Taking refuge from another angry mob in a crypt, the Monster spies Pretorius and his cronies Karl and Ludwig breaking open a grave. The henchmen depart as Pretorius stays to enjoy a light supper. The Monster approaches Pretorius, eats some of his food, and learns that Pretorius plans to create a mate for him. Henry and Elizabeth, now married, are visited by Pretorius. When Henry expresses his refusal to assist with Pretorius' plans, Pretorius calls in the Monster, who demands Henry's help. Henry again refuses, and Pretorius orders the Monster out, secretly signaling him to kidnap Elizabeth. Pretorius guarantees her safe return upon Henry's participation. Henry returns to his tower laboratory where, despite himself, he grows excited over his work. After being assured of Elizabeth's safety, Henry completes the Bride's body. A storm rages as final preparations are made to bring the Bride to life. Her bandage-wrapped body is raised through the roof, where electricity is harnessed from lightning to animate her. Henry and Pretorius lower her and, after realizing their success in bringing her to life, remove her bandages and help her to stand, as the Bride of Frankenstein is born. The Monster comes down the steps after killing Karl on the rooftop and sees his mate. The excited Monster reaches out to her and asks: "Friend?" The Bride, screaming, rejects him. The dejected Monster observes: "She hate me! Like others". As Elizabeth races to Henry's side, the Monster rampages through the laboratory. When Pretorius warns that the Monster's actions are about to destroy them all, the Monster pauses and tells Henry and Elizabeth: "Go! You live! Go!" To Pretorius and the Bride, he says: "You stay. We belong dead". While Henry and Elizabeth flee, the Monster looks at the Bride who hisses at him. Shedding a tear, he pulls a lever to trigger the laboratory and tower's destruction.

SÁTÁNTANGÓ (Béla Tarr, 1994)

In a desolate Hungarian village, after the collapse of a collective farm, two people, Futaki and Mrs. Schmidt (Éva Almássy Albert), are in a romantic embrace when Futaki is awakened at dawn by the ringing of church bells. Mr. Schmidt (László Lugossy) conspires with another co-worker named Kráner to steal the villagers' money and flee to another part of the country. As Futaki is sneaking out of the Schmidt home, he overhears Schmidt's plans, after which he demands to become part of the scheme — all this being watched by a lonely drunken man known as the Doctor (Peter Berling), who writes the events down in a notebook. However, the conspiracy fails when rumors spread across the village that the charismatic and manipulative Irimiás (Mihály Vig), a former co-worker who had been presumed dead, is returning with his friend Petrina (Putyi Horváth). Previously, Irimiás and Petrina had been forced under threat of arrest to continue their criminal enterprise in the employ of the police captain in a near-by town. After hearing a mysterious drone in a bar and proclaiming their intent to blow everything up, they begin their march to the village. They are welcomed by their young ally Sanyi Horgos (András Bodnár), with whom they had made a deal so that Sanyi would spread word among the villagers that the two had died. At the village, the Doctor discovers he has run out of fruit brandy. Unaccustomed to leaving his house, he decides to go out to buy liquor nonetheless. Outside, he is met with hostile weather and the arrival of night. He meets Sanyi's older sisters, who are prostitutes dreaming of running away to town since none of the locals have money anymore. After an impossibly long time, the doctor arrives the local tavern to purchase his brandy, but is unable to find the courage to enter. The doctor is accosted by Estike (Erika Bók), Sanyi's little sister, whose father hanged himself and had previously been institutionalized. Estike causes the doctor to fall in the mud. In a state of emotional tension, after reacting angrily to this, the Doctor reconsiders and naively tries to apologize as the girl leaves and disappears in the darkness. Chasing after her, the Doctor passes out and collapses in a nearby wood, and is found in the morning by the town's conductor who takes him to a hospital. The morning before the Doctor left his house, Estike is tricked by her older brother Sanyi into planting a "money tree" in the forest. She tortures and poisons her cat to death, and carries its corpse to the money tree, finding it dug up by her brother who has reclaimed the money. Marauding through the woods, the girl approaches the local tavern and peers through its window, where most of the villagers dance to accordion music, unaware of the peeping child. Afterwards, she encounters the Doctor and retreats into an abandoned ruin, fatally poisoning herself with the feeling that every movement of the world is preordained. The following day, Irimiás arrives at the village while Estike's funeral is being held. Irimiás tells the villagers they were all guilty of Estike's death and talks most of them into handing him all their money in order to start a new collective in a near-by estate. The villagers (excepting the publican, Sanyi's family and the Doctor) walk together, wheeling their few belongings to a distant abandoned mansion where they lie down to sleep, whereupon the narrator describes the dreams each of them has. Meanwhile, Irimiás, Sanyi and Petrina are walking when Irimiás drops to his knees while hearing once again the mysterious drone as the fog lifts from the ruin where Estike died. They later meet with an accomplice in a near-by town to acquire a large amount of explosives, for reasons never explicitly explained. The next morning, when Irimiás is late, the villagers decide they have been duped by Irimiás, and fight among themselves. Schmidt and Kráner (János Derzsi) accuse Futaki of having led them into this trap and demand that he return their money. As they beat him up, Irimiás arrives, scolds them for their squabbling and tells them that his plan to establish a new farm has been delayed by the authorities and that their only hope is to scatter around the country for an unspecified amount of time. Kráner demands that Irimiás give their money back. Irimiás does so, but expresses his disappointment at their lack of trust and unreliability, shaming Kráner into once more giving his money to him. Irimiás, Petrina and Sanyi drive the villagers and their belongings by truck to the city, where Irimiás assigns the Schmidts, the Kráners and the Halicses different towns and different tasks, gives them each 1,000 forints and dismisses them. Futaki, however, tells Irimiás that he would rather find a job as a watchman, takes his thousand forints and leaves on his own. The fate of the headmaster remains unclear. The police receive Irimiás' devastating report about the villagers' poor abilities and defects and decide to rewrite it in a less vulgar manner before filing it away and leaving. The Doctor returns home after thirteen days in the hospital, unaware that Irimiás has taken the entire community away with him. He sits down to write his notes, assuming that all his neighbors are snoring in their beds. He suddenly hears the same bells toll that woke Futaki at the beginning of the film. The Doctor leaves his house again to investigate the ruined church from which the sound of the bells comes, because the bell tower is not supposed to be working. He discovers a madman inside the ruins striking a bell clapper with a metal rod like a gong and shouting endlessly that the Turks are coming. Frightened, the Doctor returns home and proceeds to board up the window in front of his desk, plunging himself into total darkness as he sits and writes the narration which began the film. The tolling of church bells continues throughout the last part of the film and the displaying of the end credits.

BRAZIL (Terry Gilliam, 1985)

In a dystopian, polluted, hyper-consumerist, overbearing bureaucratic totalitarian future somewhere in the 20th century, Sam Lowry is a low-level government employee who frequently dreams of himself as a winged warrior saving a damsel in distress. One day, shortly before Christmas, an insect becomes jammed in a teleprinter, which misprints a copy of an arrest warrant it was receiving. This leads to the arrest and death during interrogation of cobbler Archibald Buttle instead of suspected terrorist Archibald Tuttle. Sam discovers the mistake when he discovers the wrong bank account had been debited for the arrest. He visits Buttle's widow to give her the refund where he catches a glimpse of her upstairs neighbour Jill Layton, a truck driver, and is astonished to discover that Jill resembles the woman from his dreams. Sam frantically tries to approach Jill, but she disappears before he can find her. Jill has been trying to help Mrs Buttle establish what happened to her husband, but her efforts have been obstructed by bureaucracy. Unbeknownst to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the wrongful arrest of Buttle. Meanwhile, Sam reports a fault in his apartment's air conditioning. Central Services are uncooperative, but then Tuttle unexpectedly comes to his assistance. Tuttle explains that he used to work for Central Services but left because of his dislike of the tedious and repetitive paperwork, and now works illegally as a freelance heating engineer. Tuttle repairs Sam's air conditioning, but when two Central Services workers, Spoor and Dowser, arrive, Sam has to stall to let Tuttle escape. Sam discovers that Jill's records have been classified and the only way to access them is to be promoted to Information Retrieval. He had previously turned down a promotion arranged by his high-ranking mother, Ida, who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr Jaffe. Sam retracts his refusal by speaking with Deputy Minister Mr Helpmann at a party hosted by Ida. After obtaining Jill's records, Sam tracks her down before she can be arrested. Sam clumsily confesses his love to Jill, and they cause mayhem as they escape government agents. They stop at a mall and are frightened by a terrorist bombing (part of a campaign that has been occurring around the city), then government agents arrive and take Sam. He awakens briefly detained in police custody. At work, Sam is chastised by his new boss Mr Warrenn for his lack of productivity. Sam returns home to find that Spoor and Dowser have repossessed his apartment. Tuttle then appears in secret and helps Sam enact revenge on the two Central Services workers by filling their hazmat suits with raw sewage. Jill finds Sam outside his apartment and the two take refuge in Ida's unoccupied home. Sam falsifies government records to indicate her death, allowing her to escape pursuit. The two share a romantic night together, but in the morning are apprehended by the government at gunpoint. Sam is told that Jill was killed while resisting arrest. Charged with treason for abusing his new position, Sam is restrained in a chair in a large, empty cylindrical room, to be tortured by his old friend, Jack Lint. As Jack is about to start the torture, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam, and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle mysteriously disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral of Ida's friend, who has died following botched cosmetic surgery. Sam discovers that his mother now resembles Jill, and is too busy being fawned over by young men to care about her son's plight. Government agents disrupt the funeral, and Sam falls into the open casket. Through a black void he lands in a street from his daydreams, and tries to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to find himself in a truck driven by Jill. The two leave the city together. However, this "happy ending" is a delusion: it is revealed that Sam is still strapped to the torture chair. Realising that Sam has descended into irrecoverable insanity, Jack and Mr Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and humming "Aquarela do Brasil" to himself.

A CLOCKWORK ORANGE (Stanley Kubrick, 1971)

In a futuristic Britain, Alex DeLarge is the leader of a gang of "droogs": Georgie, Dim and Pete. One night, after getting intoxicated on drug-laden "milk-plus", they engage in an evening of "ultra-violence", which includes a fight with a rival gang. They drive to the country home of writer Frank Alexander and trick his wife into letting them inside. They beat Alexander to the point of crippling him, and Alex violently rapes Alexander's wife while singing "Singin' in the Rain". The next day, while truant from school, Alex is approached by his probation officer, PR Deltoid, who is aware of Alex's activities and cautions him. Alex's droogs express discontent with petty crime and want more equality and high-yield thefts, but Alex asserts his authority by attacking them. Later, Alex invades the home of a wealthy "cat-lady" and bludgeons her with a phallic sculpture while his droogs remain outside. On hearing sirens, Alex tries to flee, but Dim smashes a bottle in his face, stunning Alex and leaving him to be arrested. Deltoid brings word that the woman has died of her injuries, and Alex is convicted of murder and sentenced to 14 years in prison. Two years into the sentence, Alex eagerly takes up an offer to be a test subject for the Minister of the Interior's new Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks. Alex is strapped to a chair, his eyes are clamped open, and he is injected with drugs. He is then forced to watch films of sex and violence, some of which are accompanied by the music of his favourite composer, Ludwig van Beethoven. Alex becomes nauseated by the films and, fearing the technique will make him sick upon hearing Beethoven, begs for an end to the treatment. Two weeks later, the Minister demonstrates Alex's rehabilitation to a gathering of officials. Alex is unable to fight back against an actor who taunts and attacks him and becomes ill wanting sex with a topless woman. The prison chaplain complains that Alex has been robbed of his free will; the Minister asserts that the Ludovico technique will cut crime and alleviate crowding in prisons. Alex is released from prison, only to find that the police have sold his possessions to provide compensation to his victims and his parents have let out his room. Alex encounters an elderly vagrant whom he attacked years earlier, and the vagrant and his friends attack him. Alex is saved by two policemen but is shocked to find they are his former droogs Dim and Georgie. They drive him to the countryside, beat him, and nearly drown him before abandoning him. Alex barely makes it to the doorstep of a nearby home before collapsing. Alex wakes up to find himself in the home of Mr Alexander, who is now using a wheelchair. Alexander does not recognise Alex from the previous attack, but knows of him and the Ludovico technique from the newspapers. He sees Alex as a political weapon and prepares to present him to his colleagues. While bathing, Alex breaks into "Singin' in the Rain", causing Alexander to realise that Alex was the person who assaulted his wife and him. With help from his colleagues, Alexander drugs Alex and locks him in an upstairs bedroom. He then plays Beethoven's Ninth Symphony loudly from the floor below. Unable to withstand the sickening pain, Alex attempts suicide by jumping out of the window. Alex survives the attempt and wakes up in hospital with multiple injuries. While being given a series of psychological tests, he finds that he no longer has aversions to violence and sex. The Minister arrives and apologises to Alex. He offers to take care of Alex and get him a job in return for his co-operation with his election campaign and public relations counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and has vivid thoughts of having sex with a woman in front of an approving crowd, thinking to himself, "I was cured, all right!"

UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (Apichatpong Weerasethakul, 2010)

In a grassy area, a water buffalo breaks free from a rope tethering it to a tree. It wanders into a forest, where it is spotted by a man holding a sickle. The man begins to lead it somewhere, while a silhouetted figure with red eyes watches. Boonmee lives in a house on a farm with his sister-in-law Jen and his nephew Tong. Boonmee is suffering from a failing kidney; his Laotian assistant Jaai administers dialysis treatments to him. One night, while Boonmee, Jen and Tong are eating dinner together, the ghost of Boonmee's wife Huay appears. Huay, who died over a decade prior, says that she heard Jen and Boonmee's prayers for her, and is aware of Boonmee's poor health. A hairy, red-eyed figure ascends the stairs near the dinner table, and is revealed to be Boonmee's long-lost son Boonsong. Boonsong, who practiced photography, had disappeared some years after Huay died. Boonsong was searching for a creature—whom he calls a "Monkey Ghost"—that he had captured in one of his photos. He says that he mated with a Monkey Ghost, causing his hair to grow longer and his pupils to dilate, and that, after meeting his mate, he forgot "the old world". During the day, on the farm with Jen, Boonmee asserts that his illness is a result of karma. He claims that it was caused by his killing of communists while serving in the military, and his killing of bugs on the farm. A princess is carried through a forest in a litter. She walks near a waterfall, and gazes into her reflection in the water, which she perceives to be more youthful and beautiful than her real appearance. She is kissed by one of her servants, but insists that he imagined kissing her reflection. The servant departs, and she sits by the water and weeps. She is complimented by a catfish, prompting her to wade into the water. She makes offerings of her jewelry in return for being made to look like her reflection, and then has intercourse with the catfish. Boonmee lies in bed near a sitting Huay. He hugs her, and asks about how he might be able to find her in the afterlife. She tells him that the spirits of the deceased are not attached to locations, but to people. Later, Boonmee, Huay, Jen and Tong venture out into the forest. Jen and Tong see shadowy figures running through the brush and leaping between the trees. Huay leads Boonmee, Jen and Tong into a cave. Boonmee believes that he was born in the cave, in a life that he cannot recall. He recounts a dream of a future civilisation in which authorities shine "a light" on "past people", causing them to disappear. Huay disconnects Boonmee's dialysis tube. By the next day, Boonmee is dead. Following Boonmee's funeral, Jen sits on a bed, organising gifts of baht with her friend Roong. Tong, now a monk, arrives, saying that he has been having difficulty sleeping at the temple. He showers and changes from his robes to a T-shirt and jeans. While preparing to go out to eat with Jen, he is stunned to see himself, Jen and Roong on the bed, watching television. He and Jen leave for a restaurant, while he, Jen and Roong remain on the bed.

CRIES AND WHISPERS (Ingmar Bergman, 1972)

In a large 19th-century mansion with red walls and carpets, Agnes is dying of uterine cancer.[a] Her sisters, Maria and Karin, arrive at their childhood home and take turns with the maid, Anna, watching over Agnes. Anna, more religious than the sisters, prays after she lost her young daughter. When Agnes' doctor David visits, he sees his former lover Maria. Maria remembers their affair and her failed marriage with her husband Joakim, who stabbed himself non-fatally in response to the adultery. David tells her that she has become more indifferent. Agnes remembers their mother, who neglected and teased her and favoured Maria, with greater understanding and recalls sharing a moment of sorrow with her. While Agnes' sisters remain emotionally distant, Anna comforts the suffering Agnes by baring her breasts and holding her at night. Agnes dies after a long period of suffering, and at her wake the priest says that her faith was stronger than his own. Maria tells Karin that it is unusual for them to avoid touching each other or having a deep conversation. She tries to touch Karin, who recoils at the gesture. Karin recalls an earlier occasion at the mansion, where, struggling with self-harm, she mutilated her genitals with a piece of broken glass to repel her husband Fredrik. Karin later dines with Maria, saying that Anna was devoted to Agnes and probably deserves a memento. She says she resents Anna's seeming familiarity with her and Maria, speaks of her own suicidal tendencies, and confesses her hatred of Maria and her flirtatiousness and shallow smiles. The sisters reconcile after the argument, touching each other. In a dream sequence, Agnes briefly returns to life and asks Karin and then Maria to approach her. Karin, repelled by the invitation, says that she still has life and does not love Agnes enough to join her. Maria approaches the undead Agnes but flees in terror when she grabs her, saying that she cannot leave her husband and children. Anna re-enters the room and takes Agnes back to bed, where she cradles the dead Agnes in her arms. The family decides to send Anna away at the end of the month, with Fredrik refusing to award her with any additional severance pay, and the maid rejects her promised memento. Maria returns to Joakim, and Karin cannot believe Maria's claim that she does not remember their touch. Anna finds Agnes' diary with an account of a visit with Maria, Karin and Anna, with a shared, nostalgic moment on a swing. Agnes wrote that "come what may, this is happiness."

WRITTEN ON THE WIND (Douglas Sirk, 1956)

Insecure, alcoholic playboy Kyle and his self-destructive sister Marylee are the children of Texas oil baron Jasper Hadley. Spoiled by their familial wealth and crippled by their personal demons, neither is able to sustain a personal relationship. Marylee has long been in love with Kyle's childhood friend Mitch Wayne, who is now a geologist for the Hadley Oil Company, but he sees her as a sister. She responds to his repeated rejections by pursuing brief physical relationships with various local men. Kyle continually seeks the approval of his father, who instead has long admired Mitch's humbleness and work ethic over that of his own children. Kyle and Mitch take a business trip to New York City, where they meet Lucy Moore, an aloof secretary who works at the Hadley Company's Manhattan offices. While Lucy initially expresses interest in Mitch, it is Kyle who begins to court her. Lucy's cool demeanor fails to deter Kyle, and he invites her to accompany him on his private plane to Miami, which she accepts. After the trip, Kyle impulsively asks Lucy to marry him, and she agrees. The two return to Texas after a whirlwind honeymoon, and Lucy proves to be a stabilizing influence on his life throughout the first year of their marriage. Meanwhile, Marylee attempts to forge a romantic relationship with Mitch, whom she vows to marry, though Mitch secretly longs to be with Lucy. Shortly after Kyle and Lucy's first wedding anniversary, Kyle learns from his doctor that he has a low sperm count and could be infertile. This news sends him into a deep depression, and he begins drinking heavily, at one point becoming severely intoxicated at the local country club and embarrassing Lucy. At the Hadley estate, Jasper confides in Mitch about his disappointment in his children, who he feels are reckless and irresponsible. Moments later, Marylee arrives at the house, escorted by police following a lovers' quarrel. That night, a defeated Jasper loses his grip on the railing and tumbles down the long front hall staircase. Mitch turns him over: He is dead. Jasper's death further destabilizes Kyle, and Lucy unsuccessfully attempts to help him overcome his self-loathing. Mitch informs Lucy that he plans to quit his job at the Hadley Oil Company and relocate to Iran. Mitch drives Lucy to a doctor's appointment, where she learns that she is pregnant; the doctor also informs her about his prior diagnosis of Kyle's infertility. That night, during a dinner with Mitch and Marylee, Lucy reveals her pregnancy to Kyle. Assuming Mitch is the father and that he and Lucy are having an affair, Kyle enters a drunken rage and assaults Lucy, but is stopped by Mitch, who forces him out of the house. The attack results in Lucy suffering a miscarriage that night. Meanwhile, an emasculated, inebriated Kyle visits the local tavern before returning to the house brandishing a pistol, intent on murdering Mitch. Marylee attempts to stop him, and, during the struggle over the gun, the weapon discharges, killing Kyle. Resentful of Mitch's love for Lucy, Marylee attempts to coerce Mitch into marrying her by threatening to tell police he murdered Kyle. Mitch denies her, and, at the inquest, she first testifies that Mitch shot Kyle, but then tearfully changes her story and describes events as they really occurred, since she still cared about Mitch. Mitch and Lucy leave the Hadley home together. Marylee is left to mourn the death of her father and brother and to run the company alone, as Mitch leaves for Iran.

THE PALM BEACH STORY (Preston Sturges, 1942)

Inventor Tom Jeffers and his wife Gerry are down on their luck financially. Married for five years, the couple is still waiting for Tom's success. Anxious for the finer things in a life, Gerry decides that they both would be better off if they split. But before she can act, she ends up entangled with the Wienie King, a strange older man being shown around her apartment with his wife by a building manager anxious to rent it out from beneath his delinquent tenants. Sympathetic to her plight - and utterly taken by her youth and charm - the man gives her $700 from a giant roll of cash he keeps in his pocket. This is enough to get their rent current, pay off their most urgent bills, buy a new dress, take Tom to an expensive dinner, and still leave $14 and change in pocket money for Tom, and then she says she's leaving him. In spite of a night of amour following their tipsy return home after their dinner, she awakens early, packs a bag, and makes for the train station. Bound for Palm Beach, Florida, her plan is to get a divorce, meet and marry a wealthy man who can both give her what she craves and also help Tom. Penniless, and repeatedly escaping from Tom's clutches, she is finally invited to travel for free as a guest on the private car of the well-to-do and soused Ale and Quail Club. When the Club proves too rowdy and repeatedly fire off hunting rifles in the private car, nearly killing their bartender, she flees to the upper berth of a Pullman car, in the process meeting the meek, eccentric, amiable, and bespectacled John D. Hackensacker III (played by Rudy Vallée), who immediately falls for her. Joel McCrea and Claudette Colbert, stars of The Palm Beach Story, from the trailer for the film Left without her clothes or purse in the chaos of her flight from the Ale and Quail reverie, she willingly accepts Hackensacker's chivalrous charity, although she doesn't know who he is. This takes a dramatic turn towards extravagance during a shopping spree for ladies finery he instigates in Jacksonville, swirling from trifles to haute couture and jewelry encrusted with precious stones. Only when Hackensacker hands the store manager a card telling him to charge it all to him is it revealed he is the third richest men in the world and owner of the Erl King, a fabulous yacht, which the twosome board for the final leg of the journey to Palm Beach. Back in New York, the now despondent Tom receives the same kind of generous no-strings-attached charity from the Wienie King he had accused Gerry of trading sexual favors with, which helps clear his mind. The King encourages him to rent a plane, fly to Florida, and show up with a bouquet of roses to win back his bride. Arriving in Palm Beach, Tom is directed to the dock and Hackensacker's yacht. There he sees the affectionate new couple aboard. Failing to run him off on shore, a flustered Gerry introduces Tom as her brother, Captain McGlue. Hackensacker's oft-married, man-hungry sister, Princess Centimillia (Mary Astor), is immediately smitten with Tom, dismissing her current lover, the bumbling Toto, by asking him to retrieve a handkerchief. When Gerry tells Hackensacker, who is working his way to propose to her, that her "brother" is a partner with her husband in the same investment, Hackensacker agrees to back it, saying he likes the Captain and it will keep it "all in the family" once they are married. Invited to stay at the Princess' estate, the Jeffers' couple valiantly try to maintain their farce - while Tom reluctantly wrangles to win Gerry back, and Gerry determinedly seeks to stick to her original plan. Until, to the strains of Hackensacker crooning "Goodnight Sweetheart" beneath their window, the couple end up romantically entangled just as they had their last night together. Reunited and unmasked the next morning, they confess the ruse to the Hackensackers. After John agrees to finance Tom's invention as simply a "good investment", sans sentimentality, and Tom and Gerry are asked if they have a brother and a sister. They do...twins! There is an elaborate dual wedding, with Tom as best man and Gerry as matron of honor, John Hackensacker hand-in-hand with Gerry's sister and the Princess with Tom's brother. A title card tells us that they "lived happily ever after...or did they?", before credits roll.

THE LADY FROM SHANGHAI (Orson Welles, 1948)

Irish sailor Michael O'Hara meets the beautiful blonde Elsa as she rides a horse-drawn coach in Central Park. Three hooligans waylay the coach. Michael rescues Elsa and escorts her home. Michael reveals he is a seaman and learns Elsa and her husband, disabled criminal defense attorney Arthur Bannister, are newly arrived in New York City from Shanghai. They are on their way to San Francisco via the Panama Canal. Michael, attracted to Elsa despite misgivings, agrees to sign on as an able seaman aboard Bannister's yacht. They are joined on the boat by Bannister's partner, George Grisby, who proposes that Michael "murder" him in a plot to fake his own death. He promises Michael $5,000 and explains that since he would not really be dead and since there would be no corpse, Michael could not be convicted of murder (reflecting corpus delicti laws at the time). Michael agrees, intending to use the money to run away with Elsa. Grisby has Michael sign a confession. Welles as Michael O'Hara in The Lady from Shanghai (1947) On the night of the crime, Sydney Broome, a private investigator who has been following Elsa on her husband's orders, confronts Grisby. Broome has learned of Grisby's plan to murder Bannister, frame Michael, and escape by pretending to have also been murdered. Grisby shoots Broome and leaves him for dead. Unaware of what has happened, Michael proceeds with the night's arrangement and sees Grisby off on a motorboat before shooting a gun into the ground to draw attention to himself. Meanwhile, Broome, mortally wounded but still alive, asks Elsa for help. He warns her that Grisby intends to kill her husband. Michael makes a phone call to Elsa, but finds Broome on the other end of the line. Broome warns Michael that Grisby was setting him up. Michael rushes to Bannister's office in time to see Bannister is alive, but that the police are removing Grisby's body from the premises. The police find evidence implicating Michael, including his confession, and take him away. At trial, Bannister acts as Michael's attorney. He feels he can win the case if Michael pleads justifiable homicide. During the trial, the incompetent judge quickly loses control of the proceedings. Bannister learns of his wife's relationship with Michael. He ultimately takes pleasure in his suspicion that they will lose the case. Bannister also indicates that he knows the real killer's identity. Before the verdict, Michael escapes by feigning a suicide attempt (swallowing pain relief pills Bannister takes for his disability), causing a commotion in which he slips out of the building with the jury for another case. Elsa follows and she and Michael hide in a Chinatown theater. Elsa calls some Chinese friends to meet her. As Michael and Elsa wait and pretend to watch the show, Michael realizes that she killed Grisby. Michael passes out from the pills he took just as Elsa's Chinese friends arrive; they carry the unconscious Michael to an empty fun house. When he wakes, he realizes that Grisby and Elsa had been planning to murder Bannister and frame him for the crime, but that Broome's involvement ruined the scheme and that Elsa had to kill Grisby for her own protection. The film features a unique climactic shootout in a hall of mirrors involving a multitude of false and real mirrored images in the Magic Mirror Maze, in which Elsa is mortally wounded and Bannister is killed. Heartbroken, and ignoring Elsa's pleas to save her life, Michael leaves presuming that the events which have unfolded since the trial will clear him of any crimes. He contemplates, "Maybe I'll live so long that I'll forget her. Maybe I'll die trying."

ON THE WATERFRONT (Elia Kazan, 1954)

Terry Malloy is a former prize fighter coerced by corrupt union boss Johnny Friendly into luring fellow dockworker Joey Doyle onto a rooftop. Joey is pushed off the roof, and Terry is visibly upset because he believed that the union thugs were merely going to talk with Joey about his rumored plan to testify against Friendly to the Waterfront Crime Commission. The other dockworkers remain silent, in fear for their lives. Terry reconnects with Joey's sister Edie, who shames the local priest Father Barry into calling the dockworkers to a meeting. Barry tries to persuade them to stand together, but Friendly has sent Terry to report on what is said. Terry is mocked by the other dockworkers before the meeting is broken up by Friendly's men. Terry helps Edie escape while Timothy "Kayo" Dugan is persuaded by Father Barry to testify. Friendly reveals to Terry that Dugan testified behind closed doors, and the next day Dugan is killed by a load of whiskey barrels set loose by Friendly's men. Father Barry makes an impassioned speech reminding the longshoremen that Christ walks among them, saying that every murder is a crucifixion. Terry is still unwilling to testify, even after he is subpoenaed, while the other dockworkers also refuse to testify. Terry's guilt and regret grow along with his feelings for Edie as he sees her relentless pursuit of justice. He confesses his role in Joey's death to Father Barry who persuades him to confess to Edie. Horrified, Edie runs away. A crime commission investigator reminds Terry of his last great fight, which he threw for a bet after Johnny Friendly "bought a piece" of him. Friendly's men witness Terry's conversation with the investigator and Friendly tells Charley, Terry's brother, to persuade Terry to keep quiet by offering him a cushy job. Terry resists and Charley pulls a gun, which Terry gently waves away. Terry expresses regret about throwing his best fight, and blames Charley for having set up the fix, ruining his career. Charley gives Terry the gun and tells him to run. Terry goes to Edie's apartment, where she refuses to let him in. He breaks in and insists she loves him and they kiss, before Terry's name is called through the open window. The men down on the street shout that his brother is waiting and Terry runs out to help him, with Edie following. After nearly being run down by a truck, Edie and Terry find Charley's body hung on a hook in the alley. Terry goes to a bar to shoot Friendly but Father Barry distracts him while he is waiting and the other union men run out to warn Friendly. Barry persuades Terry to fight Friendly by testifying in court. Terry gives damning testimony to the commission, and Friendly is cut off from his powerful friends while facing indictment. Friendly bars Terry from any union jobs. Refusing to leave the city with Edie, Terry appears at the dock for the daily ritual where workers are chosen from the assembled longshoremen. Everyone is called to work except Terry, who taunts Friendly outside the nearby shack, shouting that he is proud of testifying. Friendly goads Terry into attacking and is getting beaten until he calls for help from his thugs, who stop just shy of killing Terry. The longshoremen refuse to work unless Terry is allowed to work as well, and Joey's father pushes Friendly into the river when he tries to bully the men. Father Barry tells a badly injured Terry that he lost the battle but has a chance to win the war if he can walk into the warehouse. Father Barry and Edie get him on his feet and Terry stumbles up the gangway to stand before the warehouse, where the boss nods to Terry and tells them to get to work. The men follow Terry inside, ignoring Friendly as he lashes out with empty threats and his fists. The door closes behind them, leaving Friendly out in the cold.

ATLANTICS (Mati Diop, 2019)

In a suburb of Dakar that lies along the Atlantic coast, a futuristic-looking tower is about to be officially opened. The construction workers have not been paid for months. One night, the workers decide to leave the country by sea, in search of a brighter future in Spain. Among them is Souleiman, the lover of Ada. However, Ada is betrothed to another man - the wealthy Omar. Ada is deeply worried about Souleiman, as she waits for news of his fate in the run-up to her wedding. On her wedding day, Omar's bed mysteriously catches fire in a suspected arson attack, and a young detective is assigned to investigate the case. In the coming days, Ada falls under suspicion and is subjected to interrogations and a virginity test. Meanwhile, her friend Fanta, as well as the young detective are suffering from a mysterious illness. It slowly emerges that the spirits of the men lost at sea have returned and each night take possession of the bodies of other inhabitants of Dakar. Most have their focus on the tycoon who withheld their pay, forcing them to go across the sea. They demand their pay, threatening to burn the tower down otherwise. When they receive their pay from the tycoon they force him to dig their graves so that their spirits may rest. But Souleiman wants only to be with Ada. Unfortunately, he has possessed the young detective, which initially scares Ada. But as she meets the other spirits, including one who possesses Fanta, she comes to understand and spends a last night with the new Souleiman. While reviewing footage from the wedding, the detective sees that he, under the possession of Souleiman's spirit, was the one who committed the arson. He closes the case.

LAST YEAR AT MARIENBAD (Alain Resnais, 1961)

In an ornate baroque hotel populated by wealthy individuals and couples who socialize with each other, a man approaches a woman and claims they met the year before at a similar resort (perhaps at Frederiksbad, Karlstadt, Marienbad, or Baden-Salsa) and had a romantic relationship, but she responded to his request to run away together by asking him to wait a year, which time has now elapsed. The woman insists she has never met the man, so he proceeds to attempt to remind her of their shared past, while she rebuffs him and contradicts his account. Between interactions with the woman, a second man, who may be the woman's husband, asserts his dominance over the first man by repeatedly beating him at a mathematical game (a version of Nim). Through ambiguous flashbacks and disorienting shifts of time and location, the film explores the relationships between the three characters. Conversations and events are repeated in different places in the building and grounds, and there are numerous tracking shots of the hotel's corridors with ambiguous and repetitive voice-overs. No certain conclusion is offered regarding what is real and what is imagined, but at the end of the film the woman submits and leaves the hotel with the first man.

THE WORLD OF APU (Satyajit Ray, 1959)

In early 1940s, Apurba Kumar Roy (Apu) is an unemployed graduate (completed study up to the intermediate science) living in a rented room at Tala, Calcutta. Despite his teacher's advice to go for higher studies, he is unable to do so because he cannot afford it. He tries to find a job, while barely getting by providing private tutoring. His main passion is writing a novel, partially based on his own life, hoping to get it published some day. One day, he meets his old friend Pulu, who coaxes him to join him on a trip to his village in Khulna to attend the marriage of a cousin named Aparna. On the day of the marriage, it is revealed that the bridegroom has a serious mental disorder. The bride's mother cancels the marriage, despite the father's protests. He and the other villagers believe, according to prevalent Hindu tradition, that the young bride must be wedded off during the previously appointed auspicious hour, otherwise, she will have to remain unmarried all her life. Apu, after initially refusing when requested by a few villagers, ultimately decides to take Pulu's advice and come to the rescue of the bride by agreeing to marry her. He returns with Aparna to his apartment in Calcutta after the wedding. He takes up a clerical job, and a loving relationship begins to bloom between them. Yet, the young couple's blissful days are cut short when Aparna dies while giving birth to their son, Kajal. Apu is overcome with grief and holds the child responsible for his wife's death. He shuns his worldly responsibilities and becomes a recluse - travelling to different corners of India, while the child is left with his maternal grandparents. Meanwhile, Apu throws away his manuscript for the novel he had been writing over the years. A few years later, Pulu finds Kajal growing wild and uncared for. He then seeks out Apu, who is working at a mining quarry and advises Apu one last time to take up his fatherly responsibility. At last, Apu decides to come back to reality and reunite with his son. When he reaches his in-laws' place, Kajal, having seen him for the first time in his life, at first does not accept him as a father. Eventually, he accepts Apu as a friend and they return to Calcutta together to start life afresh.

THE SHAWSHANK REDEMPTION (Frank Darabont, 1994)

In early 1947, Portland, Maine, banker Andy Dufresne arrives at Shawshank State Prison to serve two consecutive life sentences for murdering his wife and her lover. He is befriended by Ellis "Red" Redding, an inmate and prison contraband smuggler serving a life sentence, who procures a rock hammer and a large poster of Rita Hayworth for Andy. Assigned to work in the prison laundry, Andy is frequently sexually assaulted by "the Sisters" and their leader, Bogs Diamond. In 1949, Andy overhears the captain of the guards, Byron Hadley, complaining about being taxed on an inheritance and offers to help him shelter the money legally. After an assault by the Sisters nearly kills Andy, Hadley beats and cripples Bogs, who is subsequently transferred to another prison; Andy is not attacked again. Warden Samuel Norton meets Andy and reassigns him to the prison library to assist elderly inmate Brooks Hatlen, a front to use Andy's financial expertise to manage financial matters for other prison staff, guards from other prisons, and the warden himself. Andy begins writing weekly letters to the state legislature requesting funds to improve the prison's decrepit library. Brooks is paroled in 1954 after serving 50 years, but he cannot adjust to the outside world and eventually hangs himself. The legislature sends a library donation that includes a recording of The Marriage of Figaro; Andy plays an excerpt over the public address system and is punished with solitary confinement. After his release from solitary, Andy explains to a dismissive Red that hope is what gets him through his time. In 1963, Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving bribes. Andy launders the money using the alias "Randall Stephens". In 1965, Andy and Red befriend Tommy Williams, a young prisoner incarcerated for burglary. A year later, Andy helps him pass his General Educational Development (GED) exam. Tommy reveals to Red and Andy that his cellmate at another prison had claimed responsibility for the murders for which Andy was convicted. Andy approaches Norton with this information, but Norton refuses to listen, and when Andy mentions the money laundering, Norton sends him back to solitary confinement. Norton has Hadley fatally shoot Tommy under the guise of an escape attempt. Andy refuses to continue the money laundering, but Norton threatens to destroy the library, remove Andy's protection by the guards, and move him to worse conditions. Andy is released from solitary confinement after two months, and he tells a skeptical Red that he dreams of living in Zihuatanejo, a Mexican town on the Pacific coast. Andy also tells him of a specific hayfield near Buxton, asking Red—once he is released—to retrieve a package that Andy buried there. Red worries about Andy's well-being, especially when he learns Andy asked a fellow inmate for some rope. At the next day's roll call, the guards find Andy's cell empty. An irate Norton throws a rock at a poster of Raquel Welch hanging on the cell wall, revealing a tunnel that Andy had dug with his rock hammer over the past 19 years. The previous night, Andy used the rope to escape through the tunnel and prison sewage pipe, taking Norton's suit, shoes, and ledger, containing evidence of the money laundering. While guards search for him, Andy poses as Randall Stephens, withdraws over $370,000 (equivalent to $3.09 million in 2021) of the laundered money from several banks, and mails the ledger and other evidence of the corruption and murders at Shawshank to a local newspaper. State police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid arrest. The following year, Red is finally paroled after serving 40 years. He struggles to adapt to life outside prison and fears that he never will. Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. Red violates his parole by traveling to Fort Hancock, Texas, and crossing the border into Mexico, admitting that he finally feels hope. He finds Andy on a beach in Zihuatanejo, and the two reunited friends happily embrace.

LETTER FROM AN UNKNOWN WOMAN (Max Ophüls, 1948)

In early twentieth century Vienna, a man named Stefan Brand returns home; he is due to duel against an opponent the next morning but plans to skip town and avoid it. His mute butler hands him a letter, addressed to him by a woman who claims that by the time he receives it, she may be dead, which Stefan begins reading. Decades earlier, Lisa, a teenager living in an apartment building, becomes fascinated by a Stefan, a new tenant and concert pianist at the time. She would up late to listen to him play, sneak into his apartment, and admire him from a distance, and dress better and act with more grace. Despite her actions, they only meet once and Stefan takes little notice of her. One day, Lisa's mother announces her marriage to a wealthy and respectable gentleman, who lives in Linz, and tells Lisa that they will all move there. Lisa resists her mother's plans and runs away from the railway station and goes back to the apartment, where she is let in by the porter. She knocks on Stefan's door, but no one answers. She decides to wait outside for him to return. Early the next morning, Stefan returns home with another woman. After seeing the two, a distraught Lisa travels to Linz, joining her mother and new stepfather. Years later, Lisa is a respectable woman and courted by a young military officer from a good family. He eventually proposes to Lisa, but she turns him down, saying that she is engaged to be married to someone else living in Vienna. Confused and heartbroken, he accepts her situation but her parents disown her. Returning to Vienna, Lisa works as a dress model, waiting outside Stefan's window every night. One night he notices her and although he does not recognize her, finds himself strangely drawn to her. They go on a long, romantic date that ends with their making love. Soon after, Stefan leaves for a concert in Milan, promising to return within two weeks, but he never does. Lisa eventually gives birth to their child, never trying to contact Stefan, wanting to be the "one woman you had known who asked you for nothing." Ten years later, Lisa is now married to an older general named Johann who knows about her past love for Stefan, after whom she named their son. One day while at the opera, Lisa sees Stefan, who is no longer a top-billed musician and rarely performs. Feeling uneasy, she leaves during the performance. He sees her leave and follows her, meeting her while she is waiting for her carriage. Stefan explains that he can't quite place her but felt they must have met before. Lisa is still uncomfortable with this, not wanting to anger her husband, and when her carriage arrives, she is met by a clearly vexed Johann. A few nights later and against her Johann's wishes, Lisa travels to Stefan's apartment and he is delighted to see her. Despite a seemingly illuminating conversation about Stefan's past life and his motivations for giving up music, Stefan still does not recognize who Lisa really is. Distraught and realizing that Stefan never loved her despite her undying love for him, Lisa leaves. On her way out she meets the servant and the two exchange a long glance. Sometime later, after her son dies of typhus, Lisa is taken to a hospital and is gravely ill herself. She writes a letter to Stefan explaining her life, her son, and her feelings toward him; the letter that narrates the whole film. Upon finishing the letter, the shocked Stefan recalls the three times they had met and he failed to recognize her. "Did you remember her?", he asks his butler, who nods and writes down her full name - Lisa Berndle. Still in shock, Stefan leaves his building and sees the ghostly image of a teenage Lisa open the door for him, of their first encounter. He enters the carriage waiting to take him to meet his duelling opponent and rides away.

THE DEER HUNTER (Michael Cimino, 1978)

In late 1968, three friends in a tight-knit Slavic American[3][a] community in Western Pennsylvania—Mike, Steven and Nick—work in a steel mill and hunt for deer with their co-workers Axel, Stan and John. Mike, Steven and Nick are preparing to leave for military service in Vietnam. Steven is engaged to Angela, who was secretly impregnated by another man. Mike and Nick are close friends who live together and both love Linda, who will be moving into their home to escape from her alcoholic father. While dancing at Steven and Angela's wedding, Linda accepts Nick's spontaneous marriage proposal. Nick implores Mike to ensure he returns from Vietnam. Mike, Nick and their friends take a final deer hunt. Mike kills a deer with a single shot. In Vietnam in early 1969, Mike, an airborne green beret, happens upon Nick and Steven in a village, but the three are imprisoned by the Viet Cong in a cage on the River Kwai and forced to participate in games of Russian roulette while the jailers bet. Steven fires his round at the ceiling and is forced into a cage with dead men and rats. Mike convinces his captors to put three bullets in the revolver's cylinder; Nick and Mike then use the pistol to escape. The trio floats down the river but Nick's leg is shot; they are rescued by an American helicopter, but Steven falls back into the river. Mike drops down to help Steven while Nick is flown away. Steven's legs were broken in the fall, so Mike carries him until they meet refugees fleeing to Saigon. Nick is treated at a U.S. military hospital. Once released, Nick now suffering from PTSD, wanders into a gambling den. French businessman Julien persuades him to come inside. Upset, Nick interrupts a game of Russian roulette, pulling the trigger on himself. Mike is present as a spectator, but Nick and Julien hurriedly leave. In 1970, Mike returns home, but cannot integrate into civilian life. He avoids a welcome-home party, opting to stay alone in a hotel. He visits Linda and learns that Nick has deserted. Mike then visits Angela, who is now the mother of a child, but has slipped into catatonia following the return of Steven, who is an invalid. Stan, Axel and John understand nothing of war or what Mike has gone through. Linda and Mike find comfort in each other's company. Mike is unable to shoot a deer during a hunting trip and is outraged when Stan cavalierly threatens Axel with his pistol. Mike chambers only one round, and triggers an empty chamber at Stan's head. Mike visits Steven at a veterans' hospital; both of Steven's legs have been amputated, and he has lost the use of an arm. Steven refuses to come home, saying he no longer fits in. He tells Mike that he has been regularly receiving large sums of money from Vietnam. Mike intuits that Nick is the source of these payments, and forces Steven home to Angela. Mike returns to Vietnam in search of Nick. Wandering around Saigon, which is now in a state of chaos shortly before its fall, Mike finds Julien and persuades him to take him to the gambling den. Mike finds himself facing Nick, who has become a professional in the macabre game and fails to recognize Mike. Mike attempts to bring Nick back to reason, but Nick, who is now a heroin addict, is indifferent. During a game of Russian roulette, Mike invokes memories of their hunting trips. Nick recalls Mike's "one shot" method and smiles before pulling the trigger, killing himself. Mike and his friends attend Nick's funeral, and the atmosphere at their local bar is dim and silent. Moved by emotion, John begins to sing "God Bless America" in honor of Nick, as everyone joins in.

ROME, OPEN CITY (Roberto Rossellini, 1945)

In occupied Rome in 1944, German SS troops are trying to arrest Luigi Ferraris (hiding under the alias of engineer Giorgio Manfredi), a communist, and leader of the Resistance against the Nazis and Italian Fascists. The landlady of his rooming house warns him in time for him to elude capture. He sneaks to the home of Francesco, another Resistance fighter. There he encounters Pina, Francesco's visibly pregnant fiancée, who lives in the next apartment. She first suspects Luigi of being a cop and gives him a rough time, but when he makes it clear he is a confederate of Francesco she welcomes him into his apartment to wait for him. With Pina's help Luigi/Giorgio contacts Don Pietro, a Catholic priest who is helping the Resistance. Luigi asks him to transfer messages and money to a group of Resistance fighters outside the city, as he is now known to the Gestapo and cannot do it himself. The priest willingly does so. Anna Magnani as Pina in a famous scene from the film Don Pietro is also scheduled to officiate at Pina's and Francesco's wedding the next day. Francesco is not very religious, but would rather be married by a patriot priest than a fascist official; the devout Pina, on the other hand, is pragmatic about the decision - as it would be unthinkable in normal times for an unmarried pregnant woman to be married in a church - but wrestling with why God would allow such terrible things to happen to people as are occurring all around them. Her son, Marcello, a somewhat reluctant altar boy, is involved with a crippled youth fighting his own resistance planting bombs. Pina's feckless sister Laura stays with her, but works in a cabaret serving the Nazis and Fascists. She is also an old friend of Marina, Luigi a.k.a. Giorgio's girlfriend, who has been looking for him. Marina also works in the cabaret and has not only turned to prostitution for the luxuries she craves but has become addicted to drugs by the treacherous Ingrid, a consort of the local Nazi commander, Major Bergmann. Bergmann, helped by the Italian police chief, suspects that Luigi/Giorgio is at Francesco's apartment. They raid the huge building that afternoon, pulling everyone out and arresting dozens of men. Luigi gets away, but Francesco is thrown in a truck to be hauled off. Seeing him, Pina breaks through a cordon of soldiers screaming his name, but is shot dead. The priest, who was in the building to erase any trace of the Resistance weapons under the guise of praying for a dying man, holds her in his arms and prays as Part I ends. Part II begins with the several trucks of Italian prisoners taken from the apartment building in a convoy with military vehicles, which is attacked by Resistance fighters. Most of the captives appear to escape. Francesco reconnects with Luigi. Together they go to the priest, who has offered to hide them in a monastery. Afterwards the pair go to an apartment where Marina lives and works to spend the night in hiding. When Luigi sees how she lives and finds her drugs they quarrel over her choices. Seeking revenge for his rebuke, she betrays both him and Francesco to the Nazis. The next morning Luigi/Giorgio, Francesco, Don Pietro, and an Austrian deserter the priest is also aiding, leave for the monastery. Francesco lags slightly behind, and is able to escape when the rest of the party is ambushed by Germans, who mistakenly believe the Austrian is him. Marina is rewarded by Ingrid with a fur coat and more drugs. At Nazi headquarters Bergmann tells Ingrid of his plan - to extract everything from his captives before dawn in order to take the Resistance by surprise before news of their capture can get back to it. He then offers leniency to Luigi in return for betrayal. Luigi refuses and is taken off to be tortured. The Austrian, who has already displayed cowardice at the prospect of interrogation, hangs himself in his cell. The Gestapo assault Luigi in waves with whips and a blow torch, in vain. Stressing at the deadline he has set himself, Bergmann next tries to convince Don Pietro to use his influence on Luigi to betray his cause, saying that he is an atheist and communist who is an enemy of the Church. Don Pietro placidly responds that anyone who strives to live a righteous life is doing God's work. Bergmann then forces Don Pietro to watch Luigi's torture. When Luigi dies without revealing anything, Don Pietro blesses his body and commends him to God's mercy. Luigi's refusal to yield shakes the confidence of the Germans, including Bergmann, who had boasted that they were the "master race", and no one from a "slave race" could withstand their torture. Marina and a German officer who had bad-mouthed the Reich to Bergmann earlier in the officers' club stumble into the scene drunk. When she sees that Luigi/Giorgio has refused Bergmann's deal and allowed himself to be tortured to death, she faints. The Gestapo chief and Ingrid decide that she is now useless to them and order her locked up. Ingrid removes the coat Marina had draped over her shoulders, saying she'll use it again on the "next one". In the morning Don Pietro is taken to be executed. The parish altar boys/resistance fighters show up and begin whistling their signal tune to him. Effectively sightless since his glasses were broken being thrown roughly into a cell upon arrival at Nazi headquarters, Don Pietro is heartened when he recognizes the boys' tribute. An Italian firing squad readies to shoot, but most aim slightly off, unwilling to kill a priest. They fire. Seeing the merely wounded Don Pietro still mumbling prayers the presiding German officer, the same man who while drunk had decried the futility of the Nazi obsession with world dominance the night before to Major Bergmann, draws his pistol and puts the priest to a merciful end, muttering disdainfully over his involvement as part of the "Master Race". The boys bow their heads in grief then slowly depart, the city of Rome and St. Peter's Basilica visible clearly in the background.

A.I. ARTIFICIAL INTELLIGENCE (Steven Spielberg, 2001)

In the 22nd century, rising sea levels from global warming have wiped out coastal cities, reducing the world's population. Mecha humanoid robots, seemingly capable of complex thought but lacking in emotions, have been created. In Madison, New Jersey, David, a prototype Mecha child capable of experiencing love, is given to Henry Swinton and his wife Monica, whose son Martin contracted a rare disease and has been placed in suspended animation. Monica initially feels uneasy with David, but eventually warms to him and activates his imprinting protocol, causing him to have an enduring, childlike love for her. David seeks to have Monica express the same love towards him, and also befriends Teddy, Martin's robotic teddy bear. Martin is unexpectedly cured of his disease and brought home. Martin becomes jealous of David and goads him to perform worrisome acts, such as cutting off the locks of Monica's hair while she is sleeping. At a pool party, one of Martin's friends pokes David with a knife, triggering his self-protection programming. David grabs onto Martin, and they both fall to the bottom of the pool, with David holding Martin tightly. Others jump in and save Martin before he drowns, and David is accused of being a danger to living people. Henry convinces Monica to return David to his creators to be destroyed, thinking that if David can love, he also can hate. On the way there, Monica has a change of heart and spares David from destruction by leaving him in the woods. With Teddy as his only companion, David recalls The Adventures of Pinocchio and decides to find the Blue Fairy so that she may turn him into a real boy, which he believes will win back Monica's love. David and Teddy are captured by a "Flesh Fair", a traveling circus-like event where obsolete Mecha are destroyed before jeering crowds who hate Mecha, believing them to be both dangerous and a cause of human unemployment. About to be destroyed himself, David pleads for his life, and the audience, deceived by David's realistic nature, revolts and allows David to escape alongside Gigolo Joe, a male prostitute Mecha on the run from authorities after being framed for murder. David, Teddy, and Joe go to the decadent resort town of Rouge City, where "Dr. Know", a holographic answer engine, directs them to the top of Rockefeller Center in the flooded ruins of Manhattan and also provides fairy tale information interpreted by David as suggesting that a Blue Fairy has the power to help him. Above the ruins of Manhattan, David meets Professor Hobby, his creator, who tells him that their meeting demonstrates David's ability to love and desire. David finds many copies of himself, including female variants called "Darlene", boxed and ready to be shipped. Disheartened by his lost sense of individuality, David attempts suicide by falling from a skyscraper into the ocean. While underwater, David catches sight of a figure resembling the Blue Fairy before Joe rescues him in an amphibious aircraft. Before David can explain, Joe is captured via electromagnet by authorities. David and Teddy take control of the aircraft to see the Blue Fairy, which turns out to be a statue from an attraction on Coney Island. The two become trapped when the Wonder Wheel falls on their vehicle. Believing the Blue Fairy to be real, David asks the statue to turn him into a real boy and repeats this request until his power source is depleted. Two thousand years later, humanity has become extinct and Manhattan is now buried under glacial ice. Mecha have evolved into an advanced form, and a group of them called the Specialists have become interested in learning about humanity. They find and revive David and Teddy. David walks to the frozen Blue Fairy statue, which collapses when he touches it. The Specialists reconstruct the Swinton family home from David's memories and explain to him, via an interactive image of the Blue Fairy, that it is impossible to make David a real boy. However, at David's insistence, they use their scientific knowledge to recreate Monica through genetic material from the strand of hair that Teddy kept. This Monica can live for only one day, and the process cannot be repeated. David spends his happiest day with Monica, and as she falls asleep in the evening, she tells David that she has always loved him: "the everlasting moment he had been waiting for", the narrator says; "David falls asleep as well and goes to that place 'where dreams are born.'"

CLOSE ENCOUNTERS OF THE THIRD KIND (Steven Spielberg, 1977)

In the Sonoran Desert, French scientist Claude Lacombe, his American interpreter, cartographer David Laughlin, and other researchers discover Flight 19, a flight of United States Navy Grumman TBM Avenger torpedo bombers that went missing over the Bermuda Triangle on December 5, 1945. The planes are in perfect condition, but without any occupants. An elderly witness nearby claims "the sun came out at night, and sang to him". The researchers are similarly baffled to find the SS Cotopaxi in the middle of the Gobi Desert, intact and completely empty. Near Indianapolis, air traffic controllers watch two airline flights narrowly avoid a mid-air collision with an unidentified flying object (UFO). At a rural home outside Muncie, Indiana, three-year-old Barry Guiler wakes to find his toys operating on their own. He starts to follow something outside, forcing his mother, Jillian, to chase after him. Large-scale power outages begin rolling through the area, forcing electrician Roy Neary to investigate. While he gets his bearings, Roy experiences a close encounter with a UFO, and when it flies over his truck, it lightly burns the side of his face with its lights. The UFO takes off with three others in the sky, as Roy and three police cars give chase. The spacecraft fly off into the night sky but the metaphysical experience leaves Roy mesmerized. He becomes fascinated by UFOs to the dismay of his wife, Ronnie. He obsesses over subliminal images of a mountain shape, often making models of it. Jillian meanwhile also becomes obsessed, sketching the unique mountain image. Soon after, she is terrorized in her home by a UFO which descends from the clouds. She fights off violent attempts by the UFO and unseen beings to enter the home, but in the chaos, Barry is abducted. Lacombe, Laughlin, and a group of United Nations experts continue to investigate increasing UFO activity and strange, related occurrences. Witnesses in Dharamsala, Northern India report that the UFOs make distinctive sounds: a five-tone musical phrase in a pentatonic scale. Scientists broadcast the phrase to outer space, but are mystified by the response. This is a seemingly meaningless series of numbers (104 44 30 40 36 10) repeated until Laughlin, with his background in cartography, recognizes it as a set of geographical coordinates, which point to Devils Tower near Moorcroft, Wyoming. Lacombe and the U.S. military converge on Wyoming. The United States Army evacuates the area, planting false reports in the media that a train wreck has spilled a toxic nerve gas, while actually preparing a secret landing zone for the UFOs and their occupants. Meanwhile, Roy's increasingly eccentric behavior causes Ronnie to abandon him, taking their three children. When a news program about the train wreck near Devils Tower airs on television, Roy and Jillian see the same broadcast, recognizing the same mountain they have been visualizing. They, along with other travelers experiencing the same visions, set out for Devils Tower in spite of the public warnings about nerve gas. Most of the travelers are apprehended by the Army, but Roy and Jillian persist and reach the site just as UFOs appear in the night sky. The government specialists at the site begin to communicate with the UFOs, that gradually appear by the dozens, by using light and sound on a large electrical billboard. An enormous mothership lands to release many abductees from different eras and strangely not aged: World War II pilots, Cotopaxi sailors, adults, children, and animals. Barry also returns and reunites with Jillian. The government officials hastily prepare Roy for inclusion in its select group of potential visitors to the mothership. As the extraterrestrials finally emerge from the mothership, they select Roy to join their travels. As Roy enters the mothership, one of the extraterrestrials pauses for a few moments with the humans. Lacombe uses Curwen hand signs that correspond to the five-note extraterrestrial tonal phrase. The extraterrestrial replies with the same gestures, smiles, and returns to its ship, which ascends into space.

ANATOMY OF A MURDER (Otto Preminger, 1959)

In the Upper Peninsula of Michigan, small-town lawyer Paul Biegler, a former district attorney who lost his re-election bid, spends most of his time fishing, playing the piano, and hanging out with his alcoholic friend and colleague Parnell McCarthy and sardonic secretary Maida Rutledge. One day, Biegler is contacted by Laura Manion, to defend her husband US Army Lieutenant Frederick "Manny" Manion, who has been arrested for the murder of innkeeper Bernard "Barney" Quill. Manion does not deny the murder, but claims that Quill raped his wife. Even with such a motivation, getting Manion cleared of murder would be difficult, but Manion claims to have no memory of the event, which suggests he may be eligible for a defense of irresistible impulse—a version of a temporary insanity defense. It is strongly implied that Manion is faking insanity, having been guided to it as a potential defense by Biegler. Biegler's folksy speech and laid-back demeanor hide a sharp legal mind and a propensity for courtroom theatrics that keeps the judge busy maintaining control. However, the case for the defense does not go well, especially as local district attorney Mitch Lodwick is assisted by high-powered prosecutor Claude Dancer from the Attorney General's office. Furthermore, the prosecution tries at every instance to block any mention of Manion's motive for killing Quill. Biegler eventually manages to get the rape of Laura Manion into the record and Judge Weaver agrees to allow the matter to be part of the deliberations. During cross-examination, Dancer insinuates that Laura openly flirted with other men, including the man she claimed raped her. Psychiatrists give conflicting testimony to Manion's state of mind at the time that he killed Quill. Dancer says that Manion may have suspected Laura of cheating on him because he asked her, a Catholic, to swear on a rosary that Quill raped her. This raises doubt as to whether the act was consensual. Quill's estate is to be inherited by Mary Pilant, whom Dancer accuses of being Quill's mistress. McCarthy learns that Pilant is in fact Quill's daughter, a fact she is anxious to keep secret since she was born out of wedlock. Biegler, who is losing the case, tries to persuade Pilant that Al Paquette, the bartender who witnessed the murder, may know if Quill admitted to raping Laura but Paquette is covering this up, either because he loves Pilant or out of loyalty to Quill. Through Pilant, Biegler is unable to get Paquette to testify on behalf of Manion. During the trial, Laura claims that Quill tore off her underwear while raping her; the underwear wasn't found where she alleges the rape took place. Pilant, previously unaware of any details of the case, hears this during the trial and then tells Biegler and later testifies that she found the panties in the inn's laundry room the morning after the alleged rape. Biegler suggests Quill may have attempted to avoid suspicion by dropping the panties down the laundry chute located next to his room. Dancer tries to establish that Pilant's answers are founded on her jealousy. When Dancer asserts forcibly that Quill was Pilant's lover and that Pilant lied to cover this fact, Pilant shocks everyone by stating that Quill was her father. Manion is found "not guilty by reason of insanity". After the trial, Biegler decides to open a new practice, with a newly sober McCarthy as his partner. James Stewart in the film's trailer The next day, Biegler and McCarthy travel to the Manions' trailer park home to get Manion's signature on a promissory note which they hope will suffice as collateral for a desperately needed loan. It turns out the Manions have vacated the trailer park, the superintendent commenting that Laura Manion had been crying. Manion left a note for Biegler, indicating that his flight was "an irresistible impulse", the same justification Biegler used during the trial. Biegler states that Mary Pilant has retained him to execute Quill's estate; McCarthy says that working for her will be "poetic justice".

ONE FLEW OVER THE CUCKOO'S NEST (Milos Forman, 1975)

In the autumn of 1963, Randle McMurphy is on an Oregon work farm for the statutory rape of a 15-year-old girl. He pretends to be insane in order to get himself transferred to a mental institution and avoid hard labor. The ward is dominated by head nurse Mildred Ratched, a cold, passive-aggressive tyrant who intimidates her patients. The other patients include young, anxious, stuttering Billy Bibbit; Charlie Cheswick, who is prone to temper tantrums; delusional, child-like Martini; the articulate, existentially desperate Dale Harding; belligerent and profane Max Taber; epileptics Jim Sefelt and Bruce Fredrickson; quiet but violent-minded Scanlon; tall, deaf-mute Native American "Chief" Bromden; and several others with chronic conditions. Ratched sees McMurphy's lively, rebellious presence as a threat to her authority, which she responds to by confiscating and rationing the patients' cigarettes and suspending their card-playing privileges. McMurphy finds himself in a battle of wills against Ratched. He steals a school bus, escaping with several patients to go fishing on the Pacific Coast and encouraging them to discover their own abilities and find self-confidence. After an orderly tells him that his prison sentence no longer applies to him since he has been committed, McMurphy makes plans to escape with Chief. He also learns that he, Chief, and Taber are the only non-chronic patients who have been involuntarily committed; the others have committed themselves and may leave at any time, but are too afraid to do so. After Cheswick bursts into a fit and demands his cigarettes from Ratched, McMurphy starts a fight with the orderlies and Chief intervenes to help him. McMurphy, Chief, and Cheswick are sent to the Disturbed ward after the fight, and Chief inadvertently reveals to McMurphy that he can speak and hear normally. He has feigned deaf-muteness to avoid engaging with anyone, remembering the way in which alcoholism destroyed his father's life. After being subjected to electroconvulsive therapy, McMurphy returns to the ward pretending to be brain-damaged, but then reveals that the treatment has made him even more determined to defeat Ratched. McMurphy and Chief make plans to escape, but decide to throw a secret Christmas party for their friends after Ratched and the orderlies leave for the night. McMurphy sneaks two prostitutes, Candy and Rose, and bottles of alcohol into the ward and bribes night orderly Turkle to allow the party. Afterward, McMurphy and Chief prepare to escape, inviting Billy to come with them. Billy refuses, but asks for a "date" with Candy; McMurphy arranges for him to have sex with her. McMurphy and the others get drunk, and McMurphy falls asleep instead of making his escape with Chief. Ratched arrives in the morning to find the ward in disarray and most of the patients passed out. She discovers Billy and Candy together, and aims to embarrass Billy in front of everyone. Billy manages to overcome his stutter and stands up to Ratched. When she threatens to tell his mother, Billy cracks under the pressure and reverts to stuttering. Ratched has him placed in the doctor's office. Moments later, McMurphy punches an orderly when trying to escape out of a window with the Chief, causing the other orderlies to intervene. Meanwhile, Billy commits suicide by slitting his throat with broken glass. Ratched tries to ease the situation by calling for the day's routine to continue as usual, and an enraged McMurphy strangles Ratched. The orderlies subdue McMurphy, saving Ratched's life. Some time later, Ratched is wearing a neck brace and speaking with a weak voice, and Harding now leads the now-unsuspended card-playing. McMurphy is nowhere to be found, leading to rumors that he has escaped. Later that night, Chief sees McMurphy being returned to his bed. Chief greets him, elated that McMurphy had kept his promise not to escape without him, but discovers that McMurphy has been lobotomized. After tearfully hugging McMurphy, Chief smothers him to death with a pillow. He then tears a hydrotherapy console free of its floor mountings, throws it through a window, and escapes as the other inmates awaken and cheer for him.

NOT RECONCILED (Jean-Marie Straub, 1965)

It is a 1965 West German drama film directed by Jean-Marie Straub. It has the subtitle Only Violence Helps Where Violence Reigns (German: Es hilft nur Gewalt wo Gewalt herrscht). The film is an adaptation of the 1959 novel Billiards at Half-past Nine by Heinrich Böll.

AU HASARD BALTHAZAR (Robert Bresson, 1966)

In the French countryside near the Pyrenees, a baby donkey is adopted by young children - Jacques and his sisters, who live on a farm. They baptize the donkey (and christen it Balthazar) along with Marie, Jacques' childhood sweetheart, whose father is the teacher at the small school next door. When one of Jacques' sisters dies, his family vacates the farm, and Marie's family take it over in a loose arrangement. The donkey is given away to local farmhands who work it very hard. Years pass until Balthazar is involved in an accident and runs off, finding its way back to Marie, who is now a teenager. Marie's father gets involved in legal wrangles over the farm with Jacques's father, and the donkey is given away to a local bakery for delivery work. Gérard, leader of a young criminal gang, is the delivery boy at the bakery. He is jealous of Balthazar because Marie loves him, and takes charge of the donkey, treating it cruelly. Marie, driving a 2CV one day, sees the donkey at the roadside and stops to greet it. Gérard, who'd been sleeping nearby, gets into her car and refuses to leave when demanded. It is implied that Gérard sexually assaults her after she gives up on attempting to flee, and afterwards she drives home. Marie enters into an abusive relationship with the violent Gérard, leaving her parents. Gérard is summoned to the local police station and questioned about a murder along with Arnold, an alcoholic who is also a suspect. Neither is arrested. Gérard and his gang assault Arnold, calling him a murderer and a stool-pigeon. Balthazar becomes ill and is nearly euthanized, but Arnold interrupts and takes the donkey off their hands. Balthazar recovers and Arnold uses the donkey and another to guide tourists around the Pyrenees. When the season ends, Balthazar escapes and joins a circus. But when the donkey sees Arnold in the audience it goes berserk, and Arnold retrieves it. Arnold's uncle dies and he inherits a fortune. He throws a wild party at a bar, at which Marie and her mother talk and she is asked to come home, which Marie refuses to do. Gérard puts Arnold on Balthazar's back to ride home. However, he is so drunk he falls off, hits his head on the ground and dies. The police send Balthazar to market. An avaricious local miller buys the donkey, using (and abusing) it for pumping water and milling. One rainy night, Marie, soaking wet, knocks on the miller's door asking for shelter - she has run away from Gérard. The miller says he'll be her companion and help her to escape, as she confided in him that she wished to "run away" - but the next morning sees her parents and offers them the donkey, the implication being that Marie will follow. Marie goes back to her parents. Jacques visits, wanting to marry her, and when Marie tells him about the abuse she has suffered he does not change his mind. Jacques also says that his father does not want the money the court ordered Marie's father to pay him. Marie is conflicted and is not sure if she is angry with Jacques or if she wants to be with him. She says she wants to "have it out" with Gérard and goes to visit a barn where they used to meet. Gérard is there with his gang, and they strip her, beat her, then lock her in. Marie's father and Jacques find her and break a window to get in. They take her home, pulled in a cart by Balthazar. Later Jacques wants to see Marie, but her mother comes downstairs and says, "She's gone and will never come back." Marie's father dies shortly after, when visited by a priest. While Marie's mother is grieving, Gérard turns up with his gang and asks if they can borrow Balthazar. Marie's mother refuses, as Balthazar is to carry the ashes of Marie's father in his funeral procession. In the dark of night Gérard abducts Balthazar to carry contraband over the Spanish border. When Gérard and his accomplice are supposed to meet their contact, they are instead shot at by customs guards and they flee, leaving Balthazar to his fate. In the morning, we see Balthazar has a gunshot wound. A shepherd and his flock come. The sheep gather around Balthazar, their bells jangling. He lies down and dies.

JAWS (Steven Spielberg, 1975)

In the New England beach town of Amity Island, a young woman, Chrissie Watkins, goes skinny dipping in the ocean one evening during a beachside party. While she is treading water, an unseen force attacks her and pulls her under the water. The next day, her partial remains are found on shore. After the medical examiner concludes she was the victim of a shark attack, police chief Martin Brody decides to close the beaches, but Mayor Larry Vaughn persuades him to reconsider, fearing that the town's summer economy will be ruined. The coroner tentatively concurs with the mayor's theory that Chrissie was killed in a boating accident, and Brody reluctantly accepts their conclusion until the shark kills a young boy, Alex Kintner, in front of a crowded beach. A bounty is placed on the shark, causing an amateur shark-hunting frenzy, and eccentric and roughened local professional shark fisherman Quint offers his services for $10,000. Meanwhile, consulting oceanographer Matt Hooper examines Chrissie's remains, confirming that an abnormally large shark killed her. When local fishermen catch a tiger shark, the mayor proclaims that the beach is safe. Mrs. Kintner, Alex's mother, confronts Brody and blames him for her son's death. Hooper doubts that the tiger shark is responsible for the attacks, and his suspicions are confirmed when no human remains are found inside its stomach after dissection. Hooper and Brody find a half-sunken vessel while searching the night waters in Hooper's boat. Underwater, Hooper removes a sizable great white shark's tooth from the boat's hull, but accidentally drops it after discovering the partial corpse of local fisherman Ben Gardner. Vaughn dismisses Brody and Hooper's assertions that a huge great white shark caused the deaths, and refuses to close the beaches, allowing only increased safety precautions. On the Fourth of July weekend, tourists pack the beaches. Following a juvenile prank with a fake shark, the real shark enters a nearby lagoon, killing a boater and causing Brody's oldest son, Michael, to go into shock. Brody then convinces a guilt-ridden Vaughn to immediately hire Quint. Despite tension between Quint and Hooper, they set out with Brody on Quint's boat, the Orca, to hunt the shark. While Brody lays down a chum line, Quint waits for an opportunity to hook the shark. When the shark suddenly appears behind the boat, Quint, estimating that it is 25 feet (7.6 m) long and weighs 3 tonnes (3.0 long tons; 3.3 short tons), harpoons it with a line attached to a flotation barrel, but it pulls the barrel underwater and disappears. At nightfall, Quint and Hooper drunkenly exchange stories about their assorted scars, and Quint reveals that he survived the attack on the USS Indianapolis. The shark returns unexpectedly, ramming the boat's hull, and disabling the power. The men work through the night, repairing the engine. In the morning, Brody attempts to call the Coast Guard, but Quint, who has become obsessed with killing the shark without outside assistance, smashes the radio. After a long chase, Quint harpoons the shark with another barrel. The line is tied to the stern cleats, but the shark drags the boat backward, swamping the deck and flooding the engine compartment. Quint prepares to sever the line to prevent the transom from being pulled out but the cleats break off, keeping the barrels attached to the shark. Quint heads toward shore to draw the shark into shallower waters, but he overtaxes the damaged engine and it fails. As the Orca slowly sinks, the trio attempts a riskier approach. Hooper enters the water in a shark-proof cage, intending to lethally inject the shark with strychnine via a hypodermic spear. The shark attacks the cage, causing Hooper to drop the spear, which sinks. While the shark thrashes in the tangled remains of the cage, Hooper manages to escape to the seabed. The shark breaks free and leaps onto the boat, subsequently devouring Quint. Trapped on the sinking vessel, Brody shoves a pressurized scuba tank into the shark's mouth and climbs onto the crow's nest. He shoots the tank with Quint's rifle, killing the shark with the resulting explosion. Hooper resurfaces and paddles back to Amity Island with Brody, clinging to the remaining barrels.

DERSU UZALA (Akira Kurosawa, 1975)

In the early 1900s, Captain Arsenyev embarks on a topographic surveying expedition in the Shkotovo region of the Ussuri territory. During the journey, he encounters Dersu Uzala, a nomadic Goldi hunter, who impresses Arsenyev with his wilderness skills. Dersu agrees to become their guide, leading the expedition through the rugged frontier. Dersu gains the respect of the group with his experience, instincts, keen observation, and compassion. He demonstrates his resourcefulness by repairing an abandoned hut and leaving essential provisions for future travelers. As the expedition progresses, Arsenyev and Dersu venture alone to explore Lake Khanka but get caught in a blizzard. Dersu saves Arsenyev's life by building a shelter and tending to him throughout the night. The party faces numerous hardships, including fatigue and starvation, but Dersu's wisdom and skills help them survive. Eventually, they encounter a Nani family who offers them food, warmth, and hospitality. When the expedition nears its end, Arsenyev invites Dersu to accompany him back to Khabarovsk. However, Dersu believes his place is in the forest and declines the offer, only asking for rifle cartridges. Five years later, Arsenyev embarks on another expedition, hoping to reunite with Dersu. Eventually, they meet again, and Dersu agrees to guide the party once more. During their journey, Arsenyev and Dersu face a dangerous situation when they become stranded on a raft heading towards treacherous rapids. Dersu sacrifices himself by pushing Arsenyev to safety before the raft is destroyed. Arsenyev and the rest of the group rescue Dersu, and their bond grows stronger. As time passes, Dersu senses they are being stalked by a Siberian tiger, an amu. He tries to persuade the tiger to leave peacefully but is forced to shoot at it. Distraught over injuring the sacred animal, Dersu becomes troubled and realizes he can no longer provide for himself as a hunter. He appeals to Arsenyev to take him home, but Dersu struggles to adapt to city life, feeling confined and out of place. Eventually, news reaches Arsenyev that the body of an unidentified Goldi hunter has been found, and he is asked to identify it. Arsenyev recognizes the body as Dersu's and is devastated by the loss. The official in charge speculates that Dersu may have been killed for his rifle. As Dersu is buried, Arsenyev plants his walking stick beside the grave as a symbol of remembrance.

THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, 1974)

In the early hours of August 18, 1973, a grave robber steals several remains from a cemetery near Newt, Muerto County, Texas. The robber ties a rotting corpse and other body parts onto a monument, creating a grisly display which is discovered by a local resident as the sun rises. Driving in a van, five young people take a road trip through the area: Sally Hardesty, Jerry, Pam, Kirk, and Sally's handicapped brother Franklin. They stop at the cemetery to check on the grave of Sally and Franklin's grandfather, which appears undisturbed. As the group drive past a slaughterhouse, Franklin recounts the Hardesty family's history with animal slaughter. They pick up a hitchhiker who says that his own family also has experience with animal slaughter. When the group refuse to pay the hitchhiker for a photograph, he attacks Franklin and smears a bloody symbol on the side of the van as he is ejected. Low on gas, the van stops at a station whose proprietor says that no fuel is available. The group explore a nearby abandoned house, owned by the Hardesty family. Kirk and Pam leave the others behind, planning to have sex. They discover another nearby house, running gas-powered generators. Hoping to barter for gas, Kirk enters the house. A large man wearing a mask made of skin attacks Kirk with a hammer, killing him. When Pam enters the house, she finds its living room strewn with human and animal bones. The man grabs her, impales her on a meat hook, and starts up a gas-powered chainsaw to dismember Kirk's body as Pam watches. In the evening, Jerry searches for Pam and Kirk. When he enters the other house, he finds Pam's nearly-dead, spasming body in a chest freezer. The masked man kills Jerry with a hammer. At night, Sally and Franklin start towards the other house. The masked man ambushes them, killing Franklin with the chainsaw. The man chases Sally into the house, where she finds a very old, seemingly dead man and a woman's rotting corpse. The masked man chases Sally back to the gas station and vanishes. The station's proprietor comforts Sally for a moment, after which he beats and subdues her, loading her into his pickup truck. The proprietor drives to the other house, and the hitchhiker appears. The proprietor scolds him for his actions at the cemetery, identifying the hitchhiker as the grave robber. As they enter the house, the masked man reappears, dressed in women's clothing. The proprietor identifies the masked man and the hitchhiker as brothers, and the hitchhiker refers to the masked man as "Leatherface". The two brothers bring the old man—"Grandpa"—down the stairs and cut Sally's finger so that Grandpa can suck her blood. Sally faints. The next morning, Sally regains consciousness. The men taunt her and bicker with each other, resolving to kill her with a hammer. They try to include Grandpa in the activity, but Grandpa's grip is weak, and he drops the hammer repeatedly. Sally breaks free and runs onto a road in front of the house, pursued by the brothers. An oncoming truck accidentally runs over the hitchhiker, killing him. The truck driver attacks Leatherface with a large wrench, injuring him, and escapes on foot. Sally, covered in blood, flags down a passing pickup truck and climbs into the bed, narrowly escaping Leatherface. As the pickup drives away, Sally laughs giddily. Leatherface flails his chainsaw in frustration as the sun rises.

UNDERGROUND (Emir Kusturica, 1995)

In the early morning of 6 April 1941 in Belgrade, the capital of the Kingdom of Yugoslavia, two roguish bon vivants Petar Popara, nicknamed Crni (Blacky) and Marko Dren are heading home. They pass through Kalemegdan and shout salutes to Marko's brother Ivan, an animal keeper in the Belgrade Zoo. Marko lets Blacky's pregnant wife Vera know that they enrolled Blacky in the Communist Party (KPJ). Part One: War[edit] Later, the hungover Blacky is eating breakfast while pregnant Vera complains about his supposed affair with a theatre actress. Suddenly, the roar of the planes is heard, and German bombs begin falling on Belgrade. After the air raid is over, Blacky goes out against the wishes of his wife and inspects the devastated city. Encountering building ruins and escaped wild animals from the zoo, he also runs into disconsolate Ivan carrying a baby chimp named Soni. The Royal Yugoslav Army's resistance is quickly broken, and German troops soon occupy and dismember the entire Kingdom. Blacky starts operating clandestinely as a communist activist along with Marko and others. Blacky occasionally visits his mistress Natalija Zovkov who has been assigned to a special actors' labour brigade that is helping the city's rebuilding effort under German occupational control. An acclaimed, pampered, and celebrated actress in the National Theatre, Natalija has caught the eye of a high-ranking German officer named Franz. Marko has set up a weapons stash in the cellar of his grandfather's house. Following their interception of a large trainload of weapons, Marko and Blacky are identified as dangerous bandits in German radio bulletins. While Blacky is off hiding in the woods as Germans are intensifying door-to-door raids in the city, Marko takes Vera, Ivan and many others into the cellar to hide. Vera is due and gives birth to a baby boy, who she names Jovan before dying. In 1944, Blacky is in town to celebrate his son's birthday at a local communist hangout. The two best friends head for the theatre in a jovial mood. They see Natalija performing on stage in front of Franz and other German officers, and Blacky shoots Franz in the chest. With Natalija, Blacky manages to reach the river boat anchored just outside Belgrade. Naturally, Marko is along as well, and all are getting ready for a forced wedding despite Natalija's protestations. The party is interrupted by German soldiers surrounding the anchored boat. Suddenly, Franz is seen yelling, demanding Blacky and Marko release Natalija, who runs to Franz. Blacky is captured by Germans and tortured in the city hospital with electric shocks while Franz and Natalija visit her brother Bata at the same hospital. Meanwhile, Marko has found a way to enter the building through an underground sewer passage. Sneaking up on Franz, Marko strangles him to death with a cord in front of Natalija who switches sides once again. Marko then proceeds to free Blacky. They leave with fatigued Blacky hidden in a suitcase, but Blacky is injured by a grenade. A few days later on Easter 1944, Marko and Natalija, now a couple, are watching a comatose Blacky. In late October, the Red Army accompanied by Yugoslav Partisans enters Belgrade. Marko gives fiery speeches from the National Theater balcony during the Trieste crisis, socializes with Josip Broz Tito, Ranković and Edvard Kardelj, and stands next to Tito during military parades through downtown Belgrade. Part Two: Cold War[edit] In 1961, Marko is one of Tito's closest associates and advisors. The physically recovered Blacky and company are still in the cellar under the impression that the War is still going on above. Marko and Natalija attend a ceremony to open a cultural center and unveil a statue of Petar Popara Blacky, who everyone thinks died, becoming a People's Hero. With the help of his grandfather who is in on the devious con, Marko oversees the weapons manufacturing and even controls time by removing hours to a day so the people in the cellar think that only 15 years passed since the beginning of World War II instead of 20. They're continuously making weapons, and Marko profits from it enormously. The filming of an epic state-sponsored motion picture based on Marko's memoirs titled Proleće stiže na belom konju (Spring Comes On A White Horse) begins above ground. Soon, Blacky's 20-year-old son Jovan will marry Jelena, a girl he grew up with in the cellar. Marko and Natalija are naturally invited for a celebration. Ivan's chimpanzee Soni has wandered into a tank and fires a round blowing a hole in the wall. Soni wanders off, and Ivan follows. Blacky, with his son Jovan, emerges from underground for the first time in decades. They encounter the set of Spring Comes On A White Horse and believing the war is still on, kill two extras and the actor playing Franz. In the manhunt, Jovan drowns but Blacky escapes. Part Three: War[edit] In 1992 at the height of the Yugoslav Wars, Ivan re-emerges with Soni, whom he was recently reunited with. He stumbles upon Marko, who is attempting to broker an arms deal in the middle of a conflict zone. The deal falls through and Ivan catches up with Marko and beats him to unconsciousness, then commits suicide. Natalija arrives and rushes to Marko's side, proclaiming her love for him. They are captured by militants and they are ordered to be executed as arms dealers by militants' commander, Blacky. Blacky moves his people out to the cellar that he lived years ago, taking Soni with him. He sees an image of Jovan in a well, and inadvertently falls in while reaching for him. In a dreamlike ending sequence, Blacky, Marko, and others are reunited at an outside dinner party, celebrating Jovan's wedding. Ivan gives a few parting words, ending with "Once upon a time, there was a country."

WINTER LIGHT (Ingmar Bergman, 1962)

In the final moments of Pastor Tomas Ericsson's noon service, only a handful of people are in attendance, including fisherman Jonas Persson and his pregnant wife Karin, and Tomas's ex-mistress, the atheistic Märta. After the service, Tomas, though coming down with a cold, prepares for his three o'clock service in another town. Before he leaves, however, the Perssons arrive to speak to him. Jonas has become morose after hearing that China is developing an atomic bomb. Tomas speaks to the man briefly, but asks Jonas to return after taking his wife home. No sooner have the Perssons left than substitute teacher Märta enters, and she attempts to comfort the miserable Tomas, and asks if he's read the letter she wrote to him. He has not, and tells her of his failure to help Jonas, and wonders if he will have anything to say, since he is without hope as well. Märta states her love for Tomas, but also her belief that he does not love her. She leaves, and Tomas reads her letter. In the letter, Märta describes Tomas's neglect of her, relating a story of how a rash that disfigured her body repulsed him, and neither his faith nor his prayers did anything to help her. She writes of how her family was warm and loving without religion, and expresses bewilderment at his indifference to Jesus. Tomas finishes the letter, and falls asleep. Awakened by the return of Jonas, Tomas clumsily tries to provide counsel, before finally admitting that he has no faith as well. He says his faith was an egotistical one - God loved humanity, but Tomas most of all. Serving in Lisbon during the Spanish Civil War, Tomas could not reconcile his loving God with the atrocities being committed, so he ignored them. Tomas finally tells Jonas that things make more sense if we deny the existence of God, because then man's cruelty needs no explanation. Jonas leaves, and Tomas faces the crucifix and declares himself finally free. Märta, who has been lurking in the chapel, is overjoyed to hear this, and embraces Tomas, who again does not respond to her affections. They are interrupted by the widow Magdalena, who tells them that Jonas has just committed suicide with a rifle. Tomas drives, alone, to the scene, and stoically helps the police cover Jonas's body with a tarp. Märta arrives on foot, and she and Tomas drive off to her home, where she invites him in to take some medicine for his cold. Waiting in Märta's classroom attached to her house, Tomas finally lashes out at her, telling her first that he rejected her because he was tired of the gossip about them. When that fails to deter her affections, Tomas then tells her that he was tired of her problems, her attempts to care for him, and her constant talking, and that Märta could never measure up to his late wife, the only woman he has ever loved. Though shocked by the attack, Märta agrees to drive with him to the Persson house. Informed of Jonas's suicide, Karin collapses onto the stairs and wonders how she and her children will go on. Tomas makes a perfunctory offer of help, and leaves. Arriving for the three o'clock service at the second church, Tomas and Märta find the building empty except for Algot, the handicapped sexton, and Fredrik, the organist. In the vestry, Algot questions Tomas about the Passion. Algot wonders why so much emphasis was placed on the physical suffering of Jesus, which was brief in comparison to the many betrayals he faced from his disciples, who denied his messages and commands, and finally from God, who did not answer him on the cross. He asks, "Wasn't God's silence worse?" Tomas, who has been listening silently, answers yes. Meanwhile, Fredrik tells Märta that she should leave the small town and Tomas and live her life, rather than stay and have her dreams crushed like the rest of them, but she chooses to start praying. Fredrik and Algot wonder if they should have a service since no one has shown up. Tomas still chooses to hold it, and the bells are rung. He begins the service reciting the Sanctus: "Holy Holy Holy, Lord God Almighty; heaven and earth are full of your glory."

ZAMA (Lucrecia Martel, 2017)

In the late 18th century Don Diego de Zama is a magistrate in a remote outpost in Argentina. His wife and children are far away and he longs to be assigned to a post in Lerma, a change he believes is imminent. The town is plagued by rumours of the feats of Vicuña Porto, a man who robs and rapes at will and who others are always claiming to have met and defeated. Uninterested by the gossip, Zama spends his time trying to seduce the wealthy, married Spanish noblewoman Luciana Piñares de Luenga, who rebuffs him. At work, he comes into conflict with an assistant magistrate, Ventura Prieto, when the latter objects to the enslavement of indigenous people. The conflict is exacerbated by the discovery that Prieto has had more success with Luciana than he. After the two come to blows, the governor deports the junior functionary — to Lerma. Zama learns that the governor, who had been promising to recommend his transfer, is being transferred himself by order of the King of Spain. Brokenhearted that he has not been transferred, Zama runs afoul of the new Governor when the Governor learns that one of the employees, whom Zama would prefer to protect, is writing a book while at work. The Governor orders Zama to read the book and issue a full report. Reluctantly Zama agrees. After he writes a damning report the Governor agrees to write a first letter of recommendation, revealing that the king always ignores first requests and a second one will take another 1-2 years to make its way to the king. Defeated, Zama grows a beard and agrees to join a party of men looking to hunt down and kill Vicuña Porto. In the middle of the night Zama wakes to find the horses being stolen and has a conversation with one of the men in his group, who volunteers that he is Vicuña Porto. Later, the men are captured by an indigenous tribe, who ultimately release them. The bedraggled survivors are nearing home, but the captain tells Zama they cannot return without Vicuña Porto, prompting Zama to reveal Vicuña Porto's identity. Porto, however, retains the loyalties of the remainder of the group, and his men tie up Zama and the captain. The men kill the captain and let Zama live as they believe he has information about hidden jewels that will make them rich (actually some worthless geodes mentioned in Ventura's book). When Zama tells them no such riches exist, they cut off his hands. Zama manages to survive but his future is uncertain as he awakes with no hands on a raft, having been rescued by an indigenous man and child.

THE PIANO (Jane Campion, 1993)

In the mid-1800s,[6] a Scotswoman named Ada McGrath who chooses not to speak is sold by her father into marriage with New Zealand frontiersman Alisdair Stewart, along with her daughter Flora. Ada has not spoken since the age of six, and the reason remains unknown. She communicates through playing the piano and sign language, with Flora acting as her interpreter. Ada had a relationship with a piano teacher whom she believed she had seduced through mental telepathy, resulting in Flora's birth, but the teacher left her after becoming frightened and refusing to listen. Ada and Flora, along with their handcrafted piano, are stranded on a New Zealand beach by a ship's crew. The next day, Alisdair arrives with his Māori crew and neighbor George Baines, a retired sailor who's adapted to Maori customs, including facial tattoos. Alisdair initially tells Ada that they don't have enough bearers for the piano and then refuses to go back for it, claiming that they all need to make sacrifices. Ada is determined to be reunited with her piano, and coldly rejects Alisdair's advances. Desperate to retrieve her beloved piano, Ada seeks out George's help. Although he can't read her note, he is entranced by her music and agrees to help her. George offers Alisdair the land he's been coveting in exchange for the piano and Ada's lessons. Alisdair agrees, oblivious to George's attraction to Ada. Ada is enraged by George's proposition, but ultimately agrees to trade lessons for piano keys. She restricts the lessons to the black keys only and resists George's demands for more intimacy. Ada continues to rebuff Alisdair's advances while exploring her sensuality with George. George eventually realizes that Ada will never commit to him emotionally and returns the piano to her, acknowledging that their arrangement has made her a "*****" and him "wretched." George confesses that he wants Ada to care for him genuinely. Although Ada has her piano back, she still longs for George and returns to him. Alisdair overhears them having sex and even watches them through a crack in the wall. Furious, he follows Ada the next day and confronts her in the forest, where he tries to force himself on her despite her strong resistance. Alisdair ultimately coerces Ada into promising she will no longer see George. Shortly after, Ada instructs Flora to deliver a package to George, which contains a piano key with a love declaration engraved on it. Flora hesitates, but eventually delivers it to Alisdair instead. Enraged after reading the message, Alisdair cuts off Ada's index finger with an axe, depriving her of the ability to play the piano. He sends Flora to George with the severed finger, warning him to stay away from Ada. Later, while touching Ada as she sleeps, Alisdair hears what he thinks is her voice in his head, asking him to let George take her away. He goes to George's house and asks if Ada has ever spoken to him, but George assures him she has not. They leave together from the same beach where Ada first arrived in New Zealand, with her belongings and piano tied onto a Māori longboat. As they row to the ship, Ada asks George to throw the piano overboard. She gets entangled in the rope attached to the piano but eventually frees herself and is pulled to safety. In the epilogue, Ada describes her new life with George and Flora in Nelson, New Zealand, where she gives piano lessons in their new home. George has made her a metal finger to replace the one she lost, and Ada has been practicing and taking speech lessons. She sometimes dreams of the piano resting at the bottom of the ocean with her still tethered to it.

WERCKMEISTER HARMONIES (Béla Tarr, 2000)

It is set in an anonymous, desolate, isolated small town in Hungary during Communist times. The film starts with János Valuska, a young newspaper-delivery man, conducting a poem and dance with drunken bar patrons. The dance is of the total eclipse of the sun, which disturbs, then silences the animals. It finishes with the grand return of the warm sunlight. János is devoted to his uncle György, a composer and musicologist, who is like a father to him. György records his observations about the imperfection and compromise of the musical scale, as defined by Andreas Werckmeister. György proposes changes to the scale to make its harmonies more natural. János goes to the post office to pick up his newspapers for delivery. The workers are unsettled by the ominous signs of the circus' arrival and are disturbed by the cloud that settles over each town it visits. A "circus" built around a huge stuffed smelly whale and its star performer, "The Prince", who is never seen, come to town in the silence and darkness of night. János sees them arrive and philosophizes about God and the whale. György's estranged wife, Tünde, tries to leverage her political and social status by giving György a list of names to recruit for the "Clean Up the Town movement," with the blessing of the police chief, and demands that György become chairman of the movement, or else she will move back in with him that very evening. She sends her suitcase ahead of her with János. György's struggling cobbler brother, Uncle Lajos, gets the list and passes it on to the agitated throbbing masses in the town square who are unhappy with the failing public services. János is accosted by a thug in front of the open truck housing the whale. Tünde sleeps with the drunk gun-toting police chief. The presence of the whale and the "Prince" stir up the masses. János overhears the circus master losing control of his faceless Prince, who is becoming drunk with his own voice of revolutionary dogma. The circus master disowns him. The Prince, now free, inflames the masses, and the people riot. The rioters are brutal. The rioters, holding clubs, march, then run, into a psychiatric hospital where dissidents opposing the regime are kept, drag them out of their beds and beat them. When the rioters finally find a helpless old naked patient, who is all skin and bones, and who looks like a "musulman" in a Nazi concentration camp, they see their impotent, sad and powerless selves and withdraw silently. After the riot, János comes across the diary of a rioter. It explains that the rioters did not know what they were angry with; so they were angry at everything. Then it recounts the mob's horrendous rape of two post-office girls. János comes across his killed cobbler uncle Lajos, who got naively involved in the riot. János is told, by this cobbler's wife, to leave town at once for his own safety, as his name was on a list held by the rioters. János runs away on the railroad tracks but is intercepted by a helicopter. He finds himself committed to a mental institution with caged beds (a tool of the time for dealing with political dissidents). János appears drugged and broken. György, his composer uncle, is evicted from their house but gets to live in a shed in the garden whilst György's former wife, Tünde, with her new status as a collaborator, now occupies the big house with the police chief. György tells a vacant János, in the ward, that if he is released from the mental institution they can live contentedly together in the shed with his piano. György also mentions that he has re-tuned the piano so that is now like any other, a personal capitulation apparently abandoning any present hopes of reform. János just stares. The film ends with György looking directly into the eye of the whale, then, walking away and looking back at the now sad and disheveled whale, whose "circus" was destroyed by the rioters the night before, its rotting carcass slowly enveloped by the fog which gets whiter and brighter. Warm bright sunlight returns.

UGETSU MONOGATARI (Kenji Mizoguchi, 1953)

In the farming village Nakanogō, on the shore of Lake Biwa in Ōmi Province in the Sengoku period, Genjūrō, a potter, takes his wares to nearby Ōmizo. He is accompanied by his brother-in-law Tōbei, who dreams of becoming a samurai. A respected sage tells Genjūrō's wife Miyagi to warn him about seeking profit in times of upheaval, and to prepare for an attack on the village. Returning with profits, Miyagi asks him to stop but Genjūrō nevertheless works to finish his pottery. That night, Shibata Katsuie's army sweeps through Nakanogō, uprooting Genjūrō, Tōbei and their wives; Genjūrō decides to take his pots to a different marketplace. As the couples travel across Lake Biwa, a boat appears out of the thick fog. The sole passenger tells them he was attacked by pirates, warns them, and dies. The men decide to return their wives to the shore but Tōbei's wife Ohama refuses to go. Miyagi begs Genjūrō not to leave her, but is left on the shore with their young son Genichi clasped to her back. At market, Genjūrō's pottery sells well. After taking his share of the profits, Tōbei buys samurai armor and sneaks into a samurai clan. Lost from her companions, Ohama wanders beyond Nagahama searching for Tōbei and gets raped by soldiers. Noblewoman Lady Wakasa and her female servant visit Genjurō, ordering several pieces of pottery and telling him to take them to the Kutsuki mansion. There, Genjūrō learns that Nobunaga's soldiers attacked the manor and killed all who lived there, except Wakasa and her servant. He also learns that Wakasa's father haunts the manor. Genjūrō is seduced by Lady Wakasa and she convinces him to marry her. Meanwhile, Nakanogō is under attack. In the woods, several soldiers desperately search Miyagi for food. She fights them and is stabbed, collapsing with her son clutching her back. Location of Ōmi Province, the setting of Ugetsu Tōbei presents the severed head of a general that he stole to the commander of the victor, receiving armor, a mount, and a retinue. Tōbei later rides into the marketplace on his new horse, eager to return home to show his wife. However, he visits a brothel and finds her working there as a prostitute. Tōbei promises to buy back her honor. Genjūrō meets a priest who tells him to return to his loved ones or accept death. When Genjūrō mentions Wakasa, the priest reveals that she is dead and must be exorcised and invites Genjūrō to his home, painting Buddhist symbols on his body. Genjūrō returns to the Kutsuki mansion. He admits that he is married, has a child, and wishes to return home. Wakasa refuses to let him go. She and her servant admit they are spirits, returned to this world so that Wakasa, slain before she knew love, could experience it. They tell him to wash away the symbols. Genjūrō reaches for a sword, throws himself out of the manor, and passes out. The next day, he is awakened by soldiers accusing him of stealing the sword, but he denies it, saying it is from the Kutsuki mansion. The soldiers laugh at him, saying the Kutsuki mansion was burned down over a month ago. Genjūrō arises and finds the mansion nothing more than a pile of burnt wood. The soldiers confiscate his money, but because Shibata's army burned down the prison, they leave him in the rubble. He returns home by foot, searching for his wife. Miyagi, delighted to see him, will not let him tell of his terrible mistake. Genjūrō holds his sleeping son in his arms, and eventually falls asleep. The next morning, Genjūrō wakes to the village chief knocking on his door. He is surprised to see Genjūrō home and says that he has been caring for Genjūrō's son. Genjūrō calls for Miyagi; the neighbor asks if Genjūrō is dreaming as Miyagi was killed after she was stabbed. The next morning, as Tōbei bought back Ohama's honor, they return to Nakanogō. Tōbei reflects on his mistakes, both resolving to work hard from now on. Genjūrō continues looking after Genichi and working on his pottery. Ohama gives Genichi a plate of food, which he takes and puts on his mother's grave.

METROPOLIS (Fritz Lang, 1927)

In the future, wealthy industrialists and business magnates and their top employees reign over the city of Metropolis from colossal skyscrapers, while underground-dwelling workers toil to operate the great machines that power it. Joh Fredersen is the city's master. His son, Freder, idles away his time at sports and in a pleasure garden, but is interrupted by the arrival of a young woman named Maria, who has brought a group of workers' children to witness the lifestyle of their rich "brothers". Maria and the children are ushered away, but Freder becomes fascinated by her and goes to the lower levels to find her. In the machine halls, he witnesses the explosion of a huge machine that kills and injures numerous workers. Freder has a hallucination that the machine is a temple of Moloch and the workers are being fed to it. When the hallucination ends, and he sees the dead workers being carried away on stretchers, he hurries to tell his father about the accident. Grot, foreman of the Heart Machine, brings Fredersen secret maps found on the dead workers. Fredersen fires his assistant Josaphat for not being the first to bring him details about the explosion or the maps. After seeing his father's cold indifference towards the harsh conditions faced by the workers, Freder secretly rebels against him by deciding to help the workers. He enlists Josaphat's assistance and returns to the machine halls, where he trades places with a worker who has collapsed from exhaustion. Fredersen takes the maps to the inventor Rotwang to learn their meaning. Rotwang had been in love with a woman named Hel, who left him to marry Fredersen and later died giving birth to Freder. Rotwang shows Fredersen a robot he has built to "resurrect" Hel. The maps show a network of catacombs beneath Metropolis, and the two men go to investigate. They eavesdrop on a gathering of workers, including Freder. Maria addresses them, prophesying the arrival of a mediator who can bring the working and ruling classes together. Freder believes he can fill the role and declares his love for Maria. Fredersen orders Rotwang to give Maria's likeness to the robot so that it can discredit her among the workers, but is unaware that Rotwang plans to use the robot to destroy Metropolis and ruin both Fredersen and Freder. Rotwang kidnaps Maria, transfers her likeness to the robot, then sends the robot to Fredersen. Freder finds the two embracing and, believing it is the real Maria, falls into a prolonged delirium. Intercut with his hallucinations, the false Maria unleashes chaos throughout Metropolis, driving men to murder and stirring dissent among the workers. Freder recovers and returns to the catacombs, accompanied by Josaphat. Finding the false Maria urging the workers to rise up and destroy the machines, he accuses her of not being the real Maria. The workers follow the false Maria from their city to the machine halls, leaving their children behind. They destroy the machines, triggering a flood in their city deeper underground. The real Maria, having escaped from Rotwang's house, rescues the children with help from Freder and Josaphat. Grot berates the celebrating workers for abandoning their children in the flooded city. Believing their children to be dead, the hysterical workers capture the false Maria and burn her at the stake. A horrified Freder watches, not understanding the deception, until the fire reveals her to be a robot. Rotwang becomes delusional, seeing the real Maria as his lost Hel, and chases her to the roof of the cathedral, pursued by Freder. The two men fight as Fredersen and the workers watch from the street, and Rotwang falls to his death. Freder fulfills his role as mediator by linking the hands of Fredersen and Grot to bring them together.

THE MAN WHO SHOT LIBERTY VALANCE (John Ford, 1962)

In the late 19th or early 20th century, U.S. Senator Ransom "Ranse" Stoddard and his wife Hallie arrive in Shinbone, a frontier town in an unnamed western state, to attend the funeral of Tom Doniphon. When asked by the local newspaper editor why a senator would attend the funeral of a poor rancher, Stoddard answers with a story that flashes back 25 years. Entering the then-unincorporated territory as a young lawyer, Ranse is beaten and robbed by infamous outlaw Liberty Valance and his gang. Tom Doniphon and his handyman, Pompey, find Ranse and take him to Shinbone, where Tom's girlfriend, Hallie, treats his wounds. Ranse learns Valance frequently terrorizes Shinbone and the surrounding country since the local marshal, Link Appleyard, is too cowardly to stop him. Tom says Valance only understands force, but Ranse is determined to bring Valance to justice through the law. While establishing his practice, Ranse buses tables at Peter Ericson's steakhouse, where Hallie works, and befriends Dutton Peabody, the editor of the Shinbone Star newspaper. After learning Hallie is illiterate, Ranse opens a school for children and adults in the back of the newspaper's office. He also begins practicing with Peabody's old gun after Valance bullies him in the restaurant. Hallie, attracted to Ranse and concerned for his safety, tells Tom of Ranse's gun practice. Tom takes Ranse to his ranch for a shooting lesson, showing off renovations that are intended for his marriage to Hallie and making those intentions clear to Ranse. During the lesson, he tricks Ranse by shooting a paint can above his head and staining his clothes, telling Ranse he can expect the same kind of trickery from Valance. Ranse angrily punches Tom and leaves. Shinbone's men meet to elect two delegates to the upcoming statehood convention at the territorial capital. Tom refuses Ranse's nomination: ultimately, Ranse and Peabody are elected. Valance, hired by the cattle barons who oppose statehood, fails to intimidate the voters into selecting him. Valance challenges Ranse to a gunfight. Tom offers to assist Ranse in leaving town, but Ranse stubbornly declines. That evening, Valance and his gang vandalize the newspaper office and severely injure Peabody for reporting Valance's murder of a local farmer. Ranse arms himself and goes after Valance; even drunk, Valance easily disarms the inexperienced Ranse and prepares to kill him. Ranse retrieves his gun and shoots, and Valance falls dead. Ranse returns to Ericson's where Hallie treats his arm; Tom enters and sees Hallie's clear affection for Ranse as she attends his wounds. He gets drunk and forces Appleyard to run Valance's men out of town. Tom then attempts suicide by setting fire to his own house, but Pompey rescues him. At the territorial convention, Ranse is nominated for delegate to Congress, but withdraws after a representative of the cattle barons accuses him of building a career from murdering a man. Tom arrives and explains to Ranse that it was he who killed Valance; knowing that Ranse could not beat Valance, Tom shot him with Pompey's rifle at the same time Ranse fired. Tom encourages Ranse to accept the nomination for Hallie's sake before quietly walking out of the convention. In the present, Ranse's rising political achievements - state governor, senator, ambassador to the United Kingdom, and likely vice-presidential nominee in the upcoming election - fill the intervening years. The editor decides that publishing the story would ruin Ranse's legacy, burns his notes, and leaves Ranse to conduct Tom's funeral. When Ranse asks why, the editor says "when the legend becomes fact, print the legend." On the return trip to Washington, D.C., Ranse contemplates retiring to Shinbone, which pleases Hallie. As he thanks the train conductor for the railroad's courtesies, the conductor answers, "Nothing's too good for the man who shot Liberty Valance!"

THE SHINING (Stanley Kubrick, 1980)

Jack Torrance takes a winter caretaker position at the remote Overlook Hotel in the Rocky Mountains, which closes every winter season. After his arrival, manager Stuart Ullman advises Torrance that a previous caretaker, Charles Grady, killed his family and himself in the hotel. In Boulder, Jack's son, Danny, has a premonition and seizure. Jack's wife, Wendy, tells the doctor about a past incident when Jack accidentally dislocated Danny's shoulder during a drunken rage. Jack has been sober ever since. Before leaving for the seasonal break, the Overlook's head chef Dick Hallorann informs Danny of a telepathic ability the two share, which he calls "shining". Hallorann tells Danny the hotel also has a "shine" due to residue from unpleasant past events, and warns him to avoid Room 237. A month passes and Danny starts having frightening visions, including of two murdered twin sisters. Meanwhile, Jack's mental health deteriorates; he gets nowhere with his writing, is prone to violent outbursts, and has dreams of killing his family. Danny gets lured to room 237 by unseen forces and Wendy later finds him with signs of physical trauma. Jack investigates and encounters a female ghost in the room, but blames Danny for self-inflicting the bruises. Jack is enticed back to drinking by the ghostly bartender Lloyd. Ghostly figures, including Delbert Grady, then begin appearing in the Gold Room. Grady informs Jack that Danny has telepathically contacted Hallorann for assistance, and says that Jack must "correct" his wife and child. Wendy finds Jack's manuscript written with nothing but countless repetitions of "All work and no play makes Jack a dull boy". When Jack threatens her life, Wendy knocks him unconscious with a baseball bat and locks him in the kitchen pantry, but she and Danny cannot leave due to Jack having previously sabotaged the hotel's two-way radio and snowcat. Back in their hotel room, Danny says "redrum" repeatedly and even writes the word in lipstick on the bathroom door. Wendy sees the word in the mirror and realizes that it is actually "murder" spelled backwards. Jack is freed by the ghost of Grady and goes after Wendy and Danny with an axe. Danny escapes outside through the bathroom window, and Wendy fights ******** with a knife when he tries to break through the door. Hallorann, having flown back to Colorado from his Florida vacation to respond to Danny's telepathic SOS, reaches the hotel in another snowcat. His arrival distracts Jack, who ambushes and murders him in the lobby, then pursues Danny into the hedge maze. Wendy runs through the hotel looking for Danny, encountering the hotel's ghosts and a vision of cascading blood similar to Danny's premonition. In the hedge maze, Danny misleads Jack and hides behind a snowdrift while Jack follows a false trail. Danny and Wendy reunite and leave in Hallorann's snowcat, leaving Jack to freeze to death in the maze. In a photograph in the hotel hallway, Jack is pictured standing amidst a crowd of party revelers from July 4, 1921.

THE BRIDGES OF MADISON COUNTY (Clint Eastwood, 1995)

In the present, adult siblings Michael and Carolyn Johnson arrive at the Iowa farmhouse of their recently deceased mother, Francesca, to settle her estate. They are shocked upon learning that Francesca requested to be cremated and her ashes scattered from Roseman Covered Bridge, rather than be buried next to her late husband, Richard. Michael initially refuses, but while he and Carolyn look through the safe deposit box, they discover an envelope containing photographs, letters, and a key. The photos are of Francesca taken at the Holliwell Covered Bridge and the letters are from a man named Robert Kincaid. The key is to Francesca's locked hope chest. In it are three hardbound notebooks. There are also several National Geographic magazines, including one featuring Madison County's covered wooden bridges,[6] old cameras, a book, and other mementos. The magazine includes a photo of Kincaid, who photographed the bridges; he is wearing Francesca's crucifix pendant. As Michael and Carolyn begin reading Francesca's notebooks, the film flashes back to 1965. Francesca, a WWII Italian war bride, stays home while her husband and teenaged son and daughter attend the state fair for the next four days. Robert Kincaid, a National Geographic photojournalist on assignment to photograph the county's historic bridges, arrives at the Johnson farm, asking for directions to Roseman Bridge. Francesca rides along to show him the way. Their subsequent affair occurs over four days. Francesca details the intense affair and its lasting influence on both her and Robert, hoping Michael and Carolyn will understand and honor her final request. Francesca and Robert fell deeply in love and nearly ran away together. Francesca, confined to a passionless marriage, was unable to abandon her teenage children and loyal husband. Though she loved Robert, she questioned whether their spontaneous relationship could survive over time. Robert, moved by their brief encounter, found renewed meaning in his life and true calling as an artist. Francesca's memories helped sustain her through the remaining years on the farm. After her husband's death, Francesca attempted to contact Robert, but he had left National Geographic and his whereabouts were unknown. She later learned that Robert died about three years after her husband, and he left his belongings to her. His ashes were scattered from Roseman Bridge. In the present, Michael and Carolyn, struggling with their own marriages, are deeply moved by their mother's story. They find new direction to their individual lives and carry out their mother's wishes to scatter her ashes at Roseman Bridge.

LOLA (Jacques Demy, 1961)

In the seaside French town of Nantes, a young man, Roland Cassard, is wasting his life away until he has a chance encounter with Lola, a woman he knew as a teenager before World War II, who is now a cabaret dancer. Although Roland is quite smitten with her, Lola is preoccupied with her former lover Michel, who abandoned her after impregnating her seven years earlier. Also vying for Lola's heart is American sailor Frankie, whose affection Lola does not return. Struggling for work, Roland gets involved in a diamond-smuggling plot with a local barber. Cécile, a 13-year-old girl, crosses paths with Roland; in many ways she reminds him of Lola, whose real name is also Cécile. In the end, Michel returns to Nantes, apparently very successful and hoping to marry Lola, just as she is leaving for another job in Marseille. She goes away with Michel as she always said she would.

DIARY OF A COUNTRY PRIEST (Robert Bresson, 1951)

In the small village of Ambricourt, the new parish priest keeps a diary, which he can be seen writing in and heard reading from throughout the film. Due to an undiagnosed stomach ailment, he has excluded meat and vegetables from his diet and primarily subsists on cheap wine with sugar and bread added. The locals are mostly either indifferent or hostile to the young priest, whether it be an old man who complains about the fees to bury his wife or the students of the catechism class who play tricks, so, as this is his first appointment, he often consults with the older and more experienced Priest of Torcy, who says he needs to worry about keeping order, rather than being loved. The only parishioner who attends daily mass is Miss Louise, the young governess at the local manor, who is secretly having an affair with the Count. She complains that her ward, Chantal, mistreats her, so the priest says he will go talk to the Count, who he has been looking for an excuse to see about getting help starting a youth club and sports program. The Count initially approves of the priest's plans, but cools when the priest attempts to broach the subject of the conflict between Chantal and Louise. When the priest revisits the manor, the Count avoids him, so he is greeted by the Countess, who withdrew from the world when Chantal's younger brother died several years ago, but he soon begins to feel ill and leaves. He goes to see Dr. Delbende, an elderly physician with a struggling practice who, though an atheist, is friends with and was recommended by the Priest of Torcy. The doctor palpates the priest's abdomen at length, but offers no diagnosis. The priest finds it difficult to pray, even when he is able to find the time to try. One day, he receives an anonymous letter in Louise's handwriting telling him to ask to be transferred to another parish. He becomes convinced that God has abandoned him, and is particularly affected by the death of Dr. Delbende, which is rumored to be a suicide, but decides he has not lost his faith. Chantal tells the priest that the Count and Louise plan to send her away and the Countess is not trying to stop them. The priest worries Chantal may be suicidal and, on a hunch, asks her to hand over her suicide note, which she produces from her pocket. Concerned, he goes to see the Countess, and, overheard by Chantal, they have a contentious theological conversation, by the end of which the Countess has come to terms with the death of her son and reconciled with God. She dies that night of a heart condition, and Louise leaves the manor shortly thereafter. Chantal lies and says the priest spoke harshly to the Countess and tormented her to death. The Canon (who is the Count's uncle), the Count, and the Priest of Torcy all question the priest's conduct, but he only weakly defends himself and does not mention the letter of thanks the Countess sent him before she died, choosing to let his actions speak for themselves. After the priest passes out one night and begins to intermittently hemorrhage blood, he decides to go to the city of Lille to see a doctor. Chantal visits him when he is packing and says the whole town thinks he is a drunk and her father is sure to have him transferred, but he maintains his composure. In Lille, the doctor diagnoses the priest with stomach cancer. He visits Dufrety, a classmate from seminary who took a leave from the ministry after becoming sick and now works selling drugstore supplies and lives with a woman out of wedlock. The priest faints and ends up staying with Dufrety until he dies. Dufrety relates in a letter to the Priest of Torcy that the Priest of Ambricourt asked him for absolution shortly before dying and he complied, though not without communicating that he was not sure if it was appropriate. The priest's response to this were his last words: "What does it matter? All is Grace."

AMADEUS (Milos Forman, 1984)

In the winter of 1823, Antonio Salieri is committed to a psychiatric hospital after a suicide attempt, during which his servants overhear him confess to murdering Wolfgang Amadeus Mozart. The young priest Father Vogler approaches Salieri for elaboration on Salieri's confession. Salieri recounts how, even in his youth in the 1760s, he desired to be a composer, much to his father's chagrin. He prays to God that if He makes Salieri a famous composer, he will, in return, promise his faithfulness. Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. By 1774, Salieri has become court composer to Emperor Joseph II in Vienna. Seven years later, at a reception in honor of Mozart's patron, the Prince-Archbishop of Salzburg, Salieri is shocked to discover that the transcendentally talented Mozart is obscene and immature. Salieri, a devout Catholic, cannot fathom why God would endow such a great gift to Mozart instead of him and concludes that God is using Mozart's talent to mock Salieri's mediocrity. Salieri renounces God and vows to take revenge on Him by destroying Mozart. Mozart's alcoholism ruins his health, marriage, and reputation at court, even as he continues to produce brilliant work. Salieri hires a young girl to pose as Mozart's maid and discovers that Mozart is working on an opera based on the play The Marriage of Figaro, which the Emperor has forbidden. When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage. When Mozart is informed that his father has died, he writes Don Giovanni in his grief. Salieri recognizes the dead commander in the opera as symbolic of Mozart's father and concocts a scheme; he leads Mozart to believe that his father has risen to commission a Requiem. He then plans to kill Mozart once the piece is finished and premiere it at Mozart's funeral, claiming the work as his own. Meanwhile, Mozart's friend Emanuel Schikaneder invites him to write an opera for his theatre. Mozart obliges despite his wife Constanze's insistence that he finish the Requiem, as the opera is a riskier venture financially. After arguing with Mozart, Constanze leaves with their young son, Karl. The opera in question, The Magic Flute, is a great success, but the overworked Mozart collapses during one performance. Salieri takes him home and persuades him to continue the Requiem, offering to take the bedridden Mozart's dictation; the two lay down the opening of the Confutatis together. The next morning, Mozart thanks Salieri for his friendship, and Salieri admits that Mozart is the greatest composer he knows. Constanze returns and demands that Salieri leave immediately. In her guilt, she locks the unfinished Requiem away in a cabinet, keeping it away from both composers; as she and Salieri argue, Mozart dies from exhaustion. Mozart is taken out of the city and unceremoniously buried in a mass grave. Back in 1823, Vogler is too shocked to absolve Salieri, who surmises that the "merciful" God preferred to destroy His beloved Mozart rather than allow Salieri to share in the smallest part of his glory. Salieri promises, with bitter irony, to both pray for and absolve Vogler along with all the world's mediocrities as their "patron saint". As Salieri is wheeled down a hallway, absolving the hospital's patients of their own inadequacies as he passes by, Mozart's laughter rings in the air.

THE CABINET OF DR. CALIGARI (Robert Wiene, 1920)

In what appears to be a park, Francis sits on a bench with an older man and complains that spirits have driven him away from his family and home. When a dazed woman passes them, Francis explains she is his "fiancée" Jane and that they have suffered a great ordeal. Most of the rest of the film is a flashback of Francis' story, which takes place in Holstenwall, a shadowy village of twisted buildings and spiraling streets. Francis and his friend Alan, who are good-naturedly competing for Jane's affections, plan to visit the town fair. Meanwhile, a mysterious man named Dr. Caligari seeks a permit from the rude town clerk to present a spectacle at the fair, which features Cesare, a somnambulist. The clerk mocks and berates Caligari, but ultimately approves the permit. That night, the clerk is stabbed to death in his bed. The next morning, Francis and Alan visit Caligari's sideshow attraction, where he opens a coffin-like box to reveal the sleeping Cesare. On Caligari's order, Cesare awakens and answers questions from the audience. Despite Francis' protests, Alan asks, "How long shall I live?" To Alan's horror, Cesare answers, "The time is short. You die at dawn!" Later that night, a figure breaks into Alan's home and stabs him to death in his bed. A grief-stricken Francis investigates Alan's murder with help from Jane and her father, Dr. Olsen, who obtains police authorization to investigate the somnambulist. That night, the police apprehend a criminal in possession of a knife who is caught attempting to murder an elderly woman. When questioned by Francis and Dr. Olsen, the criminal confesses he tried to kill the elderly woman, but denies any part in the two previous deaths; he was merely taking advantage of the situation to divert blame away from himself. At night, Francis spies on Caligari and observes what appears to be Cesare sleeping in his box. However, the real Cesare sneaks into Jane's home as she sleeps. He raises a knife to stab her, but instead abducts her after a struggle, dragging her through the window onto the street. Chased by an angry mob, Cesare eventually drops Jane and flees; he soon collapses and dies. Francis confirms that the criminal who confessed to the elderly woman's murder is still locked away and could not have been Jane's attacker. Francis and the police investigate Caligari's sideshow and discover that the "Cesare" sleeping in the box is only a dummy. Caligari escapes in the confusion. Francis follows him and sees Caligari go into an insane asylum. Upon further investigation, Francis is shocked to learn that Caligari is the asylum's director. With help from the asylum staff, Francis studies the director's records and diary while the director is sleeping. The writings reveal his obsession with the story of an 18th-century mystic named Caligari, who used a somnambulist named Cesare to commit murders in northern Italian towns. The director, attempting to understand the earlier Caligari, experiments on a somnambulist admitted to the asylum, who becomes his Cesare. The asylum director screams, "I must become Caligari!" Francis and the doctors call the police to Caligari's office, where they show him Cesare's corpse. Caligari then attacks one of the staff. He is subdued, restrained in a straitjacket, and becomes an inmate in his own asylum. The narrative returns to the present, where Francis concludes his story. In a twist ending, Francis is depicted as an asylum inmate. Jane and Cesare are patients as well; Jane believes that she is a queen, while Cesare is not a somnambulist but awake, quiet, and not visibly dangerous. The man Francis refers to as "Dr. Caligari" is the asylum director. Francis attacks him and is restrained in a straitjacket, then placed in the same cell where Caligari was confined in Francis's story. The asylum director announces that, now that he understands Francis's delusion, he is confident that he can cure him.

SHOLAY (Ramesh Sippy, 1975)

Jai and Veeru are small-time crooks who are released from prison, where they are recruited by a former Inspector Thakur Baldev Singh to capture a notorious dacoit named Gabbar Singh wanted for ₹50,000,[b] as the duo had saved Thakur from a train robbery which makes Thakur to recruit them for the mission with an additional ₹20,000 reward. The duo leave for Thakur's village in Ramgarh, where Gabbar is residing and terrorizing the villagers. After reaching Ramgarh, Veeru falls for Basanti, a feisty talkative horse-cart driver. Jai meets Thakur's widowed daughter-in-law Radha and falls for her, who later accepts his feelings. The two thwarts Gabbar's dacoits, who came to extort money. During the festival of Holi, Gabbar's gang attacks the villagers where they corner Jai and Veeru, but the duo manage to attack and chase them away from the village. The duo are upset at Thakur's inaction (when Jai and Veeru were cornered, Thakur had a gun within his reach, but does not help them) and consider calling off the mission. Thakur reveals that few years ago, Gabbar had killed his family members (except Radha), and had both his arms cut off, where he concealed the dismemberment by always wearing a shawl, which is the sole reason why he could not use the gun. Realizing this, Jai and Veeru take an oath that they will capture Gabbar alive. After learning the duo's heroics, Gabbar kills the local imam Rahim Chacha's son Ahmed and forces the villagers to make Jai and Veeru surrender to him. The villagers refuse and instead get the duo to kill few of Gabbar's henchmen. Gabbar retaliates by having his men capture Veeru and Basanti. Jai arrives and attacks the hideout, where the trio are able to flee Gabbar's hideout with dacoits in pursuit. Shooting from behind a rock, Jai and Veeru nearly run out of ammunition. Unaware that Jai was wounded in the gunfight, Veeru is forced to leave for more ammunition and also to drop Basanti at a safe place. Jai sacrifices himself by using his last bullet to ignite dynamite sticks on a bridge from close range, killing Gabbar's men. Veeru returns, and Jai dies, leaving Radha and Veeru devastated. Enraged, Veeru attacks Gabbar's den and kills his remaining men where he catches Gabbar and nearly beats him to death. Thakur appears and reminds Veeru of the vow to hand over Gabbar alive. Thakur uses his spike-soled shoes to severely injure Gabbar and his hands. The police arrive and arrest Gabbar for his crimes. After Jai's funeral, Veeru leaves Ramgarh and finds Basanti waiting for him on the train.

THE MUSIC ROOM (Satyajit Ray, 1958)

Jalsaghar depicts the end days of a decadent zamindar (landlord) in Bengal and his efforts to uphold his family prestige while facing economic adversity. The landlord, Biswambhar Roy (Chhabi Biswas), is a just but otherworldly man who loves to spend time listening to music and putting up spectacles rather than managing his properties ravaged by floods and the government's abolition of the zamindari system after Independence. He is challenged by a commoner who has attained riches through business dealings, in putting up spectacles and organising music fests. This is the tale of a zamindar who has nothing left but respect and sacrifices his family and wealth trying to retain it.

THE LAST LAUGH (F.W. Murnau, 1924)

Jannings' character is a doorman for a famous hotel, who takes great pride in his work and position. His manager decides that the doorman is getting too old and feeble to present the image of the hotel, and so demotes him to a less demanding job, of washroom attendant. He tries to conceal his demotion from his friends and family but, to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The doorman, shocked and in incredible grief, returns to the hotel to sleep in the washroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep. Following this comes the film's only title card, which says: "Here our story should really end, for in actual life, the forlorn old man would have little to look forward to but death. The author took pity on him, however, and provided quite an improbable epilogue."[2] At the end, the doorman reads in the newspaper that he inherited a fortune from a Mexican millionaire named A. G. Money, a patron who died in his arms in the hotel washroom. The doorman returns to the hotel, where he dines happily with the night watchman who showed him kindness. On their way to the carriage, the doorman gives tips to all the service personnel from the hotel, who quickly line up along his way. In the final scene of the film, when both the doorman and the night watchman are in the carriage, a beggar asks the doorman for some money. The doorman invites the beggar to the carriage and even gives a tip to the new doorman, who is now in charge of bringing the guests inside.

THE LADY EVE (Preston Sturges, 1941)

Jean Harrington is a beautiful con artist. Along with her equally larcenous father, "Colonel" Harrington, and his partner Gerald, she is sailing on an ocean liner with the intention to fleece rich, naive Charles Pike, the heir to the Pike Ale ("The Ale That Won for Yale") fortune. Charles is a woman-shy snake expert just returning from a year-long expedition up the Amazon. The young women aboard the ship compete for his attention, but Charles is more concerned with reading about snakes. Jean meets Charles by tripping him as he passes, and he is soon smitten with her. After Jean runs off, terrified by a real snake that Charles has brought on board which has gotten loose in his cabin, the two share a steamy scene in her cabin. Charles's minder Muggsy suspects that Jean is a trickster looking to steal from Charles, but Charles refuses to believe him. Then, despite the planned con, Jean falls in love with Charles and shields him from her card sharp father. Muggsy discovers the truth and presents proof to Charlie, who dumps Jean. Furious at being scorned, Jean soon re-enters Charles's life masquerading as the posh Lady Eve Sidwich, niece of Sir Alfred McGlennan Keith, another con man who has been swindling the rich of Connecticut. Jean takes on an English accent, determined to torment Charles mercilessly, as she explains, "I've got some unfinished business with him—I need him like the axe needs the turkey." When Charles meets Jean as Lady Eve, he is so bewildered at her resemblance to the Jean that he knew that he constantly trips and falls over himself. Although Muggsy tries to convince him that "she's the same dame," Charles reasons that Jean would not come close to his home without at least disguising herself. Then, after Sir Alfred feeds him a story that the Lady Eve is Jean's sister, Charles accepts the resemblance. After a brief courtship they marry, right on Jean's schedule. And just as she had planned, on the train to their honeymoon Eve begins to confess her past, continuously dropping names of many old boyfriends and lovers. A disgusted Charles jumps off the train. Jean's con team urges her to close the deal by pursuing a huge divorce settlement, but she tells Charles' father on the phone that she wants no money, but only wants Charles to tell her that their marriage is over in person. Charles refuses. Jean is then told by Charles' father that Charles is departing on another ocean voyage. She arranges passage for herself and her father, and meets Charles again by tripping him as he passes, just as they had met before. Charles is overjoyed to see the real Jean again, kisses her and takes her hand, and they dash to her cabin where they mutually affirm their love for each other. As the cabin door closes Charles confesses that he is married, and Jean replies, "So am I, darling."

MY NIGHT AT MAUD'S (Eric Rohmer, 1969)

Jean-Louis, a solitary and serious engineer, has taken a job in Clermont-Ferrand where he knows nobody. Attending a Catholic church, he sees a young blonde woman and without knowing anything about her is convinced that she will become his wife. In the cafe he encounters Vidal, an old Marxist friend now a university lecturer, who invites him to a concert that evening. Jean-Louis is at first reluctant but eventually agrees to go. After the concert they dine in a restaurant. Vidal has plans to visit a friend the following evening and invites Jean-Louis to accompany him. However, Jean-Louis plans to attend mass. They agree to attend mass together, as Vidal's friend will not be available until after midnight. They arrive at the flat of Maud, a paediatrician who is recently divorced. The three talk and drink, until Maud suggests that falling snow has made the drive to Jean-Louis' mountain village unsafe and he should stay. Vidal, who had hoped to stay, leaves. Maud and Jean-Louis discuss religion and their love life. She makes herself comfortable in the double bed in the living room and reveals she divorced her husband because he had an affair with a Catholic woman, all the while she herself had a lover who died in a car crash one year ago. When it is time to sleep she declares the bed she is in is the only bed. She gets naked and suggests that Jean-Louis join her under the covers. He eventually does, keeping his clothes on. In the morning he resists her advances to make love. Initially hurt, Maud gets over the rejection and invites him to join her later for a walk in the snow with friends. Just before meeting Maud's friends, he sees the blonde girl from the church and, much encouraged in his dealings with women by his night with Maud, boldly introduces himself. Her name is Françoise and she agrees to see him in the church. On the walk with Maud he is much more forward with her, to the point where she has to restrain him. After the walk Jean-Louis tries his luck at the place where he met Françoise and she turns out to be there, about to return home. He offers to give her a ride home and learns that she is a biology postgraduate. He goes back with her to her student house and after a tea he can spend the night in a separate room. In the morning, before they go to church, she refuses to kiss him. After the church service she admits that the cloud between them is because she has been having an affair with a married man. Five years on, now married and on a beach with their child, the two meet Maud. She says she has remarried, but it is not a success. Afterwards, Jean-Louis confesses to Françoise that he came from Maud's bed on the morning he first met her but gives no specifics about what really happened. Then he realizes that his wife's lover was Maud's husband. As they are now both happy together, they decide not to bring up the subject again. Instead, they go for a swim with their child.

THE AWFUL TRUTH (Leo McCarey, 1937)

Jerry Warriner (Cary Grant) tells his wife he is going on vacation to Florida, but instead spends the week at his sports club in New York City. He returns home to find that his wife, Lucy (Irene Dunne), spent the night in the company of her handsome music teacher, Armand Duvalle (Alexander D'Arcy). Lucy claims his car broke down unexpectedly. Lucy discovers that Jerry did not actually go to Florida. Their mutual suspicion results in divorce proceedings, with Lucy winning custody of their dog. The judge orders the divorce finalized in 90 days. Lucy moves into an apartment with her Aunt Patsy (Cecil Cunningham). Her neighbor is amiable but rustic Oklahoma oilman Dan Leeson (Ralph Bellamy), whose mother (Esther Dale) does not approve of Lucy. Jerry subtly ridicules Dan in front of Lucy, which causes Lucy to tie herself more closely to Dan. Jerry begins dating sweet-natured but simple singer Dixie Belle Lee (Joyce Compton), unaware that she performs an embarrassing, sexually suggestive act at a local nightclub. Convinced that Lucy is still having an affair with Duvalle, Jerry bursts into Duvalle's apartment only to discover that Lucy is a legitimate vocal student of Duvalle and is giving her first recital. Realizing he may still love Lucy, Jerry undermines Lucy's character with Mrs. Leeson even as Dan and Lucy agree to marry. When Jerry attempts to reconcile with Lucy afterward, he discovers Duvalle hiding in Lucy's apartment and they have a fistfight while Dan and his mother apologize for assuming the worst about Lucy. When Jerry chases Armand out the door, Dan breaks off his engagement to Lucy and he and his mother return to Oklahoma. Some weeks pass, and Jerry begins dating high-profile heiress Barbara Vance (Molly Lamont). Realizing she still loves Jerry, Lucy crashes a party at the Vance mansion the night the divorce decree is to become final. Pretending to be Jerry's sister, she undermines Jerry's character, implying that "their" father was working class rather than wealthy. Acting like a showgirl, she recreates Dixie's risqué musical number from earlier in the film. The snobbish Vances are appalled. Jerry attempts to explain away Lucy's behavior as drunkenness, and says he will drive Lucy home. Lucy repeatedly sabotages the car on the ride to delay their parting. Pulled over by motorcycle police officers, who believe Jerry is drunk, Lucy manages to wreck the car. The police give the couple a lift to Aunt Patsy's nearby cabin. Although sleeping in different (but adjoining) bedrooms, Jerry and Lucy slowly overcome their pride and a series of comic mishaps in order to admit "the awful truth" that they still love one another. They reconcile at midnight, just before their divorce is to be finalized.

THE LAST TEMPTATION OF CHRIST (Martin Scorsese, 1988)

Jesus of Nazareth, a carpenter in Roman-occupied Judea, is torn between his own desires and his knowledge of God's plan for him. His friend Judas Iscariot is sent to kill him for collaborating with the Romans to crucify Jewish rebels, but suspects that Jesus is the Messiah and asks him to lead a war of liberation against the Romans. While Jesus assures him that his message is one of love for mankind, Judas warns him not to harm the rebellion. Jesus starts preaching after saving prostitute Mary Magdalene from a stoning and being baptized by John the Baptist. He acquires disciples, some who want freedom from the Romans while Jesus maintains people should tend to matters of the spirit. Jesus goes into the desert to test his connection to God, where he resists temptation by Satan. Returning from the desert, Jesus is nursed back to health by Martha and Mary of Bethany, who encourage him to marry and have children. After performing miracles, including raising Lazarus from the dead, Jesus's ministry reaches Jerusalem, where he chases out money lenders from the temple. He begins bleeding from his hands, which he recognizes as a sign that he must die on the cross to bring salvation to mankind and instructs Judas to give him to the Romans. Jesus convenes his disciples for a Passover seder, whereupon Judas leads a contingent of soldiers to arrest Jesus in the garden of Gethsemane. Pontius Pilate tells Jesus that he must be put to death as he represents a threat to the Roman Empire; he is subsequently flogged, mocked and taken to be crucified. While on the cross, a young lady who claims to be Jesus's guardian angel tells him that, while he is the Son of God, he is not the Messiah and that God is pleased with him and wants him to be happy. She brings him down off the cross and, invisible to others, takes him to Mary Magdalene, whom he marries. They live a happy life, but when she abruptly dies, Jesus is consoled by his angel and goes on to start a family with Mary and Martha, the sisters of Lazarus. As an older man, Jesus encounters the apostle Paul preaching about the Messiah and tries to tell him that he is the man about whom Paul has been preaching. Paul repudiates him, saying that even if Jesus had not died on the cross, his message was the truth, and nothing would stop him from proclaiming that. Jesus debates him, stating that salvation cannot be founded on lies. Near the end of his life, with Jerusalem in the throes of rebellion, an elderly dying Jesus calls his former disciples to his bed. When Judas comes he reveals Jesus's guardian angel is actually Satan, who tricked him into believing he did not have to give himself up to save the world. Crawling back through the burning city, Jesus reaches the site of his crucifixion and begs God to let him fulfill his purpose, stating "I want to be the Messiah!" Jesus then finds himself once more on the cross, having overcome the "last temptation" of escaping death, being married and raising a family, and the ensuing disaster that would have consequently encompassed mankind. Jesus cries out "It is accomplished!" and dies.

PINOCCHIO (Ben Sharpsteen & Hamilton Luske, 1940)

Jiminy Cricket addresses the audience as the narrator and begins to tell a story. Jiminy came to a village in Italy sometime in the late 19th century, where he arrived at the shop of a woodworker and toymaker named Geppetto, who creates a marionette whom he names Pinocchio. Falling asleep, Geppetto wishes upon a star for Pinocchio to be a real boy. Late that night, a Blue Fairy visits the workshop and brings Pinocchio to life, although he remains a puppet. She informs him that if he proves himself brave, truthful, and unselfish, he will become a real boy. When Jiminy reveals himself, the Blue Fairy assigns him to be Pinocchio's conscience. Geppetto wakes up upon hearing a commotion from Pinocchio falling, and is overjoyed to discover that his puppet is alive and will become a real boy. The next morning, on his way to school, Pinocchio is led astray by con artist fox Honest John and his sidekick Gideon the Cat. Honest John convinces him to join Stromboli's puppet show, despite Jiminy's objections. Pinocchio becomes Stromboli's star attraction, but when he tries to go home, Stromboli locks him in a bird cage and leaves to tour the world with Pinocchio. After Jiminy unsuccessfully tries to free his friend, the Blue Fairy appears, and an anxious Pinocchio lies about what happened, causing his nose to grow. The Blue Fairy restores his nose and frees him when Pinocchio promises to make amends, but she warns him that she can offer no further help. Meanwhile, Honest John is hired by a mysterious coachman to find disobedient boys for him to take to Pleasure Island. Though Honest John and Gideon are frightened by the Coachman's implication of what happens to the boys, the former reluctantly accepts the job and finds Pinocchio, convincing him to take a vacation on Pleasure Island. On the way, Pinocchio befriends Lampwick, a delinquent boy. At Pleasure Island, without rules or authority to enforce their activity, Pinocchio, Lampwick, and countless other boys soon engage in vices such as smoking and drinking. Jiminy eventually discovers that the island hides a horrible curse: the boys brought to Pleasure Island transform into donkeys for their misdeeds, and are sold by the Coachman into slave labor. Pinocchio witnesses Lampwick transform into a donkey, and with Jiminy's help, Pinocchio escapes, partially transformed with a donkey's ears and tail. Returning home, Pinocchio and Jiminy find Geppetto's workshop deserted. They get a letter from the Blue Fairy in the form of a dove, stating that Geppetto had gone out looking for Pinocchio and sailed to Pleasure Island. After learning that Pinocchio had left, he was then swallowed by Monstro, a terrible sperm whale, and is now living in the belly of the beast. Determined to rescue his father, Pinocchio jumps into the ocean, accompanied by Jiminy. Pinocchio is soon swallowed by Monstro, where he reunites with Geppetto. Pinocchio devises a scheme to make Monstro sneeze, giving them a chance to escape. The scheme works, but the enraged whale chases them and smashes their raft with his tail. Pinocchio selflessly pulls Geppetto to safety in a cove just as Monstro crashes into it and Pinocchio is seemingly killed. Back home, Geppetto, Jiminy, Figaro, and Cleo mourn the loss of Pinocchio. However, having proven himself brave, truthful, and unselfish, Pinocchio is revived and turned into a real human boy by the Blue Fairy, getting rid of the Pleasure Island curse in the process, much to everyone's joy. As the group celebrates, Jiminy steps outside to thank the Fairy and is rewarded with a solid gold badge that certifies him as an official conscience.

I KNOW WHERE I'M GOING! (Michael Powell & Emeric Pressburger, 1945)

Joan Webster is a 25-year-old middle-class Englishwoman with an ambitious, independent spirit. She knows where she's going, or at least she thinks she does. She travels from her home in Manchester to the Hebrides to marry Sir Robert Bellinger, a wealthy, much older industrialist, on the (fictitious) Isle of Kiloran. When bad weather postpones the final leg of her journey (the boat trip to Kiloran), she is forced to wait it out on the Isle of Mull, among a community of people whose values are quite different from hers. There she meets Torquil MacNeil, a naval officer trying to go home to Kiloran while on shore leave. They are sheltered for the night in the nearby home of Torquil's friend, Catriona Potts. Joan suggests to Catriona that she could sell her property to get money. Catriona replies, "money isn't everything." The next day, on their way to catch a bus to Tobermory to find a telephone, they come upon the ruins of Moy Castle. Joan wants to take a look inside, but Torquil refuses to go in. When she reminds him that the terrible curse associated with it only applies to the laird of Kiloran, Torquil introduces himself: he is the laird, and Bellinger has only leased his island. On the bus, the locals recount several disparaging stories about Bellinger. At the coastguard station in Tobermory, Joan is able to contact Bellinger on Kiloran. She and Torquil stay at the Western Isles Hotel in Tobermory. She asks him to eat at a separate table to avert gossip. As the bad weather worsens into a full-scale gale, Torquil spends more time with Joan, who becomes increasingly torn between her ambition and her growing attraction to him. When Joan visits Achnacroish, she is surprised to re-encounter Torquil, who feigns not to know her in the presence of others, among them Bellinger's friends. She and Torquil attend a ceilidh celebrating a couple's diamond wedding anniversary. The bagpipers hired to play at Joan's wedding perform at the ceilidh. Desperate to salvage her carefully laid plans, Joan tries to persuade Ruairidh Mhór to take her to Kiloran immediately, but he knows conditions are far too dangerous. Joan manages to bribe Ruairidh Mhór's young assistant, Kenny, into attempting it by offering him £20: enough money to buy a half-share in Ruairidh's boat and marry Ruairidh's daughter Bridie. Torquil learns of the scheme and tries to talk Joan out of it, but she is adamant. When Catriona tells Torquil that Joan is actually running away from him, he races to the quayside and invites himself aboard. En route, the boat's engine is flooded and they are nearly caught in the Corryvreckan whirlpool, but Torquil is able to restart the motor just in time, and they return safely to Mull. At last the weather clears. Joan asks Torquil for a parting kiss before they go their separate ways. Torquil enters Moy Castle, and the curse takes effect almost immediately. Centuries earlier, Torquil's ancestor had stormed the castle to capture his unfaithful wife and her lover. He had them bound together and cast into a water-filled dungeon with only a small stone to stand on. When their strength gave out, they dragged each other into the water, but not before she placed a curse on the lairds of Kiloran. From the battlements, Torquil sees Joan, accompanied by the three bagpipers, marching resolutely toward him. The couple meet in the castle, and embrace. An inscription describes the curse: if a MacNeil of Kiloran dares step over the threshold of Moy, he shall be chained to a woman to the end of his days, "and will die in his chains". Torquil and Joan walk away together along the lane arm in arm. "I Know Where I'm Going" is sung as the end credits roll.

ALL THAT JAZZ (Bob Fosse, 1979)

Joe Gideon is a theater director and choreographer trying to balance staging his latest Broadway musical, NY/LA, while editing a Hollywood film he has directed, The Stand-Up. He is an alcoholic, a driven workaholic who chain-smokes cigarettes, and a womanizer who constantly flirts and has sex with a stream of women. Each morning he starts his day by playing a tape of Vivaldi while taking doses of Visine, Alka-Seltzer, and Dexedrine, always finishing by looking at himself in the mirror and telling himself "It's showtime, folks!" Joe's ex-wife, Audrey Paris, is involved with the production of the show, but disapproves of his womanizing ways. Meanwhile, his girlfriend Katie Jagger and daughter Michelle keep him company. In his imagination, he flirts with an angel of death called Angelique in a nightclub setting, chatting with her about his life. As Joe continues to be dissatisfied with his editing job, repeatedly making minor changes to a single monologue, he takes his anger out on the dancers and in his choreography, putting on a highly sexualized number with topless women during one rehearsal and frustrating both Audrey and the show's penny-pinching backers. The only moment of joy in his life occurs when Katie and Michelle perform a Fosse-style number for Joe as an homage to the upcoming release of The Stand-Up, moving him to tears. During a particularly stressful table-read of NY/LA, Joe experiences severe chest pains and is admitted to the hospital with severe angina. Joe brushes off his symptoms, and attempts to leave to go back to rehearsal, but he collapses in the doctor's office and is ordered to stay in the hospital for several weeks to rest his heart and recover from his exhaustion. NY/LA is postponed, but Gideon continues his antics from the hospital bed, continuing to smoke and drink while having endless strings of women come through his room; as he does, his condition continues to deteriorate, despite Audrey and Katie both remaining by his side for support. A negative review for The Stand-Up — which has been released during Joe's time in the hospital — comes in despite the film's monetary success, and Gideon has a massive coronary event. As Joe undergoes coronary artery bypass surgery, the producers of NY/LA realize that the best way to recoup their money and make a profit is to bet on Gideon's dying: the insurance proceeds would result in a profit of over half a million dollars. As Gideon goes on life support, he directs extravagant musical dream sequences in his own head starring his daughter, wife, and girlfriend, who all berate him for his behavior; he realizes he cannot avoid his own death, and has another heart attack. As the doctors try to save him, Joe runs away from his hospital bed behind their backs and explores the basement of the hospital and the autopsy ward before he allows himself to be taken back. He goes through the five stages of grief — anger, denial, bargaining, depression and acceptance — featured in the stand-up routine he had been editing, and as he gets closer to death, his dream sequences become more and more hallucinatory. As the doctors try one more time to save him, Joe imagines a monumental variety show featuring everyone from his past where he takes center stage in an extensive musical number ("Bye Bye Life", a whimsical parody of "Bye Bye Love"). In his dying dream, Joe is able to thank his family and acquaintances as he cannot from his hospital bed, and his performance receives a massive standing ovation. Joe finally dreams of himself traveling down a hallway to meet Angelique at the end, as the film abruptly cuts to his corpse being zipped up in a body bag.

OUT OF THE PAST (Jacques Tourneur, 1947)

Joe Stefanos arrives in Bridgeport, California, a rural mountain town, seeking Jeff Bailey, who owns a local gas station. Bailey is fishing with Ann Miller. They are in love. (Her lifelong friend Jim is jealous.) The Kid, Jeff's deaf-mute employee and friend, interrupts them, signing to Jeff. At the station, Stefanos tells Jeff that he must go to Lake Tahoe to meet "Whit." Jeff invites Ann to ride with him. He tells her about his past in a flashback. Bailey's real last name is Markham. He and Jack Fisher were partners, private investigators in New York. Whit Sterling, a gambling kingpin, hires Markham—solo—to find Whit's girlfriend, Kathie Moffat, who shot him and stole $40,000. Whit promises she will not be harmed. Jeff eventually corners Kathie in Acapulco. She seduces him. She admits that she shot Whit, but denies taking his money. Eventually, Jeff proposes that they run away together. Whit and Stefanos arrive. Jeff says that Kathie is on a south-bound steamer. Whit instructs Jeff to keep looking for her. The couple goes to San Francisco. Fisher, now working for Whit, spots Jeff at the track. Jeff arranges to meet Kathie at a mountain cabin, but Fisher follows Kathie and tries to blackmail them. The two men brawl. Kathie deliberately kills Fisher and drives away, leaving behind a bank book showing a balance of $40,000. Mitchum and Greer The flashback ends. Jeff wants to clean things up and return to Ann. Ann leaves him at Whit's estate. A cheerful Whit tells Jeff he has a job for him. Jeff is startled when Kathie appears at breakfast. She comes to his room; he tells her to get out. Mitchum and Greer Leonard Eels, a crooked San Francisco lawyer, helped Whit dodge $1 million in taxes and is blackmailing him. Whit wants Jeff to recover the incriminating records. Eels' secretary, Meta Carson, explains the plan to Jeff, who suspects he is being framed. That night, at Eels' apartment, Jeff alerts Eels, obliquely, promising to return. After they leave, Jeff trails Meta, then returns and finds Eels dead. He hides the body. In Meta's apartment, Jeff overhears Kathie arranging for the discovery of Eels' body. When the hidden body is not found, she believes Eels has escaped. Jeff confronts her and Kathie reveals that she gave Whit a signed affidavit swearing that Jeff killed Fisher. She says they can start all over again. They kiss, he leaves. Stefanos arrives and confirms that he killed Eels. Jeff consigns the tax papers to a delivery service. Whit's thugs capture him. He offers the incriminating records in exchange for the affidavit, without implicating Kathie. When Kathie and Meta arrive at Eels' apartment to retrieve the affidavit, the police are already there. They instead phone Whit. Jeff becomes wanted for the murders of Fisher and Eels and police expect him to return to Bridgeport. Stefanos, directed by Kathie, trails the Kid to the gorge where Jeff is hiding out. The Kid spots Stefanos poised to shoot Jeff and hooks his coat with a fishing line, pulling him off-balance so he falls to his death. Jeff returns to Whit's mansion to inform them of Stefanos death and to tell Whit about Kathie's doublecross. He suggests making Stefanos' death look like a guilt-ridden suicide after his murder of Eels. He will return the records if Whit destroys Kathie's affidavit and hands her over to the police for Fisher's death. Whit accepts, promising Kathie he will kill her if she does not cooperate. Jeff meets Ann in the woods. She believes in him, but tells him to be absolutely sure of what he wants. She will wait. Jeff discovers that Kathie has killed Whit. She gives him a choice: run away with her or take the blame for all three murders. He dials the phone while she is upstairs. They leave in a car with Jeff driving. Seeing a police roadblock ahead, Kathie shoots him. She fires at the police. A machine gun riddles the car with bullets, killing her. In Bridgeport, Ann asks the Kid if Jeff was going away with Kathie. Lying, the Kid nods his head. Ann gets into Jim's car, and the Kid smiles, saluting Jeff's name on the gas station's sign.

NIGHTS OF CABIRIA (Federico Fellini, 1957)

Prostitute Cabiria and her lover Giorgio playfully chase each other through a field and up to the bank of a river. Oblivious to Giorgio's criminal intentions, Cabiria stands close to the edge of the water, before being pushed in to the river, and having her purse and money stolen. She is quickly saved by a group of onlooking bystanders who prevent her from drowning. Cabiria returns to her small home, but Giorgio has disappeared. She is bitter, and when her best friend and neighbor, Wanda, tries to help her get over him, Cabiria shoos her away and remains disgruntled. One night, she is outside an upscale nightclub and witnesses a fight between famous movie star Alberto Lazzari and his girlfriend. The irritated Lazzari takes the starstruck Cabiria to another club where they dance the mambo, before returning to the movie star's house, where Cabiria is astounded by its opulence. The two share an intimate moment in Lazzari's bedroom, but are quickly interrupted by the intrusion of Lazzari's previous girlfriend. Cabiria is told to wait out the night in the bathroom, and ends up watching Lazzari and his girlfriend reconcile their relationship through the keyhole of the bathroom door. The following day, a church procession passes by the street where Cabiria and her friends hang out. As her associates mock the Church, Cabiria is drawn to the procession. Just as she is about to join the procession, a man driving a truck pulls up and offers her a ride home. As she heads home later that night, she sees a man giving food to the poor people living in caves near her house. She has never seen this man before, but she is both impressed and confused by his charity toward others. The following day, Cabiria and some of her friends attend a church mass, where she pleads the Virgin Mary for a better life. After the procession ends, Cabiria expresses sadness at the fact that her friends seemed to have not changed anything about their lives. Cabiria goes to a magic show, and the magician drags her up on stage and hypnotizes her. As the audience laughs, she acts out her desires to be married and live a happy life. Furious at having been taken advantage of for the audience's amusement, she leaves in a huff. Outside the theatre, a man named Oscar is waiting to talk to her. He was in the audience, and he says he agrees with her that it was not right for everyone to laugh, but believes that fate has brought them together. They go for a drink, and at first she is cautious and suspicious, but after several meetings she falls passionately in love with him; they are to be married after only a few weeks. Cabiria is delighted and sells her home and takes out all her money from the bank. The sum of more than 700,000 lire in cash represents her dowry, and when she shows it to Oscar in a restaurant, he advises her to keep it in the purse. However, during a walk in a wooded area, on a cliff overlooking a lake,[a] Oscar becomes distant and starts acting nervous. Cabiria realizes that just like her earlier lover, Oscar intends to push her over the cliff and steal her money. She throws her purse at his feet, sobbing in convulsions on the ground and begging for him to kill her as he takes the money and abandons her. She later picks herself up and stumbles out of the wood in tears. In the film's last sequence, Cabiria walks the long road back to town when she is met by a group of young people riding scooters, playing music, and dancing. They happily form an impromptu parade around her until she begins to smile, as a single black tear falls down her face.

RIO BRAVO (Howard Hawks, 1959)

Joe Burdette, the spoiled younger brother of wealthy land baron Nathan Burdette, taunts town drunk Dude by tossing money into a spittoon. The sheriff, John T. Chance, stops Dude from reaching into the spittoon, prompting Dude to lash out and knock Chance unconscious. Joe starts to beat Dude for fun, shooting and killing an unarmed bystander who attempts to stop him. Chance recovers, follows Joe into Nathan's personal saloon, and, with help from a penitent Dude, overcomes Nathan's men and arrests Joe for murder. Chance's friend Pat Wheeler attempts to enter town with a wagon train of supplies and dynamite, but has to force his way through Nathan Burdette's men. Chance reveals that he, Dude (who used to be a deputy before he became a drunk), and his old crippled deputy Stumpy are all that stand between Nathan's small army and Joe, whom they wish to free. Chance notices young gunslinger Colorado Ryan in Wheeler's wagon train, but Colorado promises he doesn't want to start any trouble. That night, Carlos Robante, the owner of the local hotel, warns Chance that Wheeler is trying to recruit fighters. Chance tries to stop Wheeler, not wanting anyone to get hurt on his account. Wheeler asks if Colorado could help, but Colorado declines, feeling that it's not his fight. Chance then notices a rigged card game at the hotel. Recognizing one of the players as a wanted woman, "Feathers", the widow of a cheating gambler, he confronts her. However, Colorado reveals that another player is the cheater. Out in the street, Wheeler is gunned down. Chance and Dude pursue the killer into Nathan's saloon, and Chance allows Dude to prove himself and confront the killer, earning the respect of Nathan's men. Colorado and the rest of Wheeler's men are forced to stay in town to await a court order releasing Wheeler's possessions, and the wagons are left behind the Burdette warehouse. After Feathers secretly stays up all night with a shotgun to guard Chance, an irritated Chance orders Feathers to leave town for her safety. She refuses, and the two begin to bond. Nathan himself rides into town. Stumpy, having old grudges against Nathan for taking his land, threatens to shoot Joe if any trouble starts around the jail. In response, Nathan has his saloon musicians repeatedly play "El Degüello", a.k.a. "The Cutthroat Song". Colorado realizes the song means Nathan will show no mercy, and warns Chance. Chance gives Dude back his old guns and some clothes and a black hat he left behind when he became a drunkard, and Dude gets a shave, trying to start afresh. Unfortunately, Stumpy doesn't recognize Dude when he returns, and shoots at him, shattering Dude's nerves. The next day, Dude is still shaky and finds himself ambushed by Burdette's men, who threaten to kill him unless Chance lets Joe go. Colorado and Feathers distract the men long enough for Chance to get his rifle, and he and Colorado shoot down the men and free Dude. Dude thinks about quitting and letting Colorado take his place, but when he hears "El Degüello" being played, he resolves to see the thing through to the end. Dude and Chance return to the hotel so Dude can take a bath, but Burdette's men capture Carlos' wife Consuelo and use her to lure Chance into a trap. Dude tells Chance to take the men to the jail, under pretext that Stumpy would let Joe out. However, Stumpy opens fire, as Dude secretly predicted. In the chaos, some men drag Dude off to Nathan, who demands a trade—Dude for Joe. Chance agrees, but brings Colorado as backup. Dude and Joe brawl during the trade, and a firefight ensues. Stumpy throws some sticks of dynamite from the wagons into the warehouse where Burdette and his men are holed up, and Chance detonates them with his rifle, abruptly ending the fight. With both Burdettes and their few surviving gunmen in jail, Chance is able to finally spend some time with Feathers and admit his feelings for her. Colorado volunteers to guard the jail, allowing Stumpy and Dude to enjoy a night out in the town.

ETERNAL SUNSHINE OF THE SPOTLESS MIND (Michel Gondry, 2004)

Joel Barish discovers that his estranged girlfriend, Clementine Kruczynski, has had her memories of him erased by the New York City firm Lacuna, following a fight between the two. Heartbroken and devastated, he decides to undergo the same procedure. In preparation, he records a tape for Kruczynski, recounting his memories of their volatile relationship. The Lacuna employees work on Joel's brain as he sleeps in his apartment so that he will wake up with no memory of the procedure. One employee, Patrick, leaves to see Clementine; since her procedure, he has been using Joel's and Clementine's memories as a guide for seducing her. While the procedure runs on Joel's brain, technician Stan and secretary Mary party and have sex. Joel re-experiences his memories of Clementine as they are erased, starting with their last fight. As he reaches earlier, happier memories, he realizes that he does not want to forget her. His mental projection of Clementine suggests that Joel hide her in memories that do not involve her. This halts the procedure, but Stan calls his boss, Howard, who arrives and restarts it. Joel comes to his last remaining memory of Clementine: the day they first met, on a beach in Montauk. As the memory crumbles around them, Clementine tells Joel to meet her in Montauk. In Joel's apartment, while Stan is outside, Mary tells Howard she is in love with him and they kiss. Howard's wife arrives, and, from the street, sees them through the window. Furious, she tells Howard to tell Mary the truth: that Mary and Howard previously had an affair, and that Mary had her memories erased. Disgusted, Mary steals the Lacuna records and mails them to the patients, including Joel and Clementine. Joel wakes up, his memories of Clementine erased. He impulsively goes to Montauk and meets Clementine on the train home. They are drawn to each other and go on a date to the frozen Charles River in Boston. Joel drives Clementine home and Patrick sees them, realizing they have found each other again. Joel and Clementine receive their Lacuna records and listen to their tapes. They are shocked by the bitter memories they had of each other, and almost separate a second time, but agree to try again.

SULLIVAN'S TRAVELS (Preston Sturges, 1941)

John L. Sullivan is a popular young Hollywood director of profitable but shallow comedies. Dissatisfied with making such films as Ants in Your Plants of 1939, he tells his studio boss, Mr. LeBrand, that he wants his next project to be a serious exploration of the plight of the downtrodden, based on the novel O Brother, Where Art Thou? LeBrand wants him to direct another lucrative comedy instead, but Sullivan refuses. He wants to "know trouble" first hand, and plans to travel as a tramp so he can make a film that truly depicts the sorrows of humanity. His British butler and valet both openly question the wisdom of his plan. Sullivan dresses as a hobo and takes to the road, followed by staff in a bus imposed on him for his own safety by the studio. Neither party is happy with the arrangement, and Sullivan, after trying to lose the bus in a fast-paced car chase, eventually persuades his guardians to leave him alone and arranges to rendezvous with them later in Las Vegas. However, he soon returns to Los Angeles. There, in a diner, Sullivan meets a struggling young actress who has failed to make it in Hollywood and is just about to give up and go home. She believes he is a penniless tramp and buys him breakfast. In return for her kindness, Sullivan retrieves his car from his estate and gives her a ride. He neglects to tell his servants that he has returned, however, so they report the car stolen. Sullivan and the girl are briefly apprehended by police, but let free. He and the girl return to his palatial mansion. After seeing how wealthy he is, the girl shoves him into his swimming pool for deceiving her. However, when he insists on going out again, she goes with him, over his objections, disguised as a boy. This time Sullivan succeeds. After riding in a cattle car, eating in soup kitchens and sleeping in homeless shelters with the girl (where someone steals his shoes), Sullivan finally decides he has had enough. His experiment is publicized by the studio as a huge success. The girl wants to stay with him, but Sullivan reveals to her that he is married, lovelessly, to someone else, having entered the union solely to reduce his income taxes. Worse, the plan backfired, with Sullivan's joint returns higher than when he was single and his wife's having an affair with his business manager. Sullivan decides to thank the homeless for the insights he's gained by handing out five-dollar bills, but is knocked unconscious, has his money stolen, and is stuffed in a boxcar leaving the city by the assailant. The thief then gets run over by another train, sending $5 bills raining everywhere. When the mangled body is found a special ID card his valet had sewn into Sullivan's shoes is discovered in the sole of the pair the man has on, identifying him as Sullivan. Great woe in Hollywood follows. Meanwhile, Sullivan wakes up in another city, with no memory of who he is or how he got there. A yard bull finds him and accosts him for illegally entering the rail yard. In his confused state, Sullivan hits the man with a rock, badly injuring him and earning a six year sentence of hard labor in a work camp. He gradually regains his memory. In the camp, he attends a showing of Walt Disney's 1934 Playful Pluto cartoon, a rare treat for the prisoners, and is surprised to find himself laughing along with them. Unable to convince anybody either that he is Sullivan or communicate with the outside world, he comes up with a solution: after learning of his unsolved "killing" on the front page of an old newspaper, he confesses to being the murderer. When his picture makes the front page he is recognized by friends and released. His "widow" has already married his business manager, meaning she'll have to give him a divorce or be charged with bigamy. Sullivan's boss finally tells him he can make O Brother, Where Art Thou?. Sullivan says that he has changed his mind: He wants to continue making comedies, having learned the value they contribute to society, especially to those who have too little else to bring them joy.

THE TRIAL (Orson Welles, 1962)

Josef K. (Anthony Perkins) is sleeping in his bedroom, in an apartment he shares with other lodgers. He is awakened when a man in a suit opens his bedroom door. Josef assumes the glib man is a policeman, but the intruder does not identify himself and ignores Josef's demand to produce police ID. Several detectives enter and tell Josef he is under open arrest. In another room Josef K. sees three co-workers from his place of employment; they are there to provide evidence regarding some unstated crime. The police refuse to inform Josef K. of his misdeeds, or if he is even being charged with a crime, and they do not take him into custody. After the detectives leave, Josef converses with his landlady, Mrs. Grubach (Madeleine Robinson), and neighbor, Miss Bürstner (Jeanne Moreau), about the strange visit. Later he goes to his office, where his supervisor thinks he has been having improper relations with his teenaged female cousin. That evening, Josef attends the opera, but is abducted from the theater by a police inspector (Arnoldo Foà) and brought to a courtroom, where he attempts in vain to confront the still-unstated case against him. Josef returns to his office and discovers the two police officers who first visited him being whipped in a small room. Josef's uncle Max suggests that Josef consult with Hastler (Orson Welles), a law advocate. After brief encounters with the wife of a courtroom guard (Elsa Martinelli) and a roomful of condemned men awaiting trial, Josef is granted an interview with Hastler, which proves unsatisfactory. Hastler's mistress (Romy Schneider) suggests that Josef seek the advice of the artist Titorelli (William Chappell), but this also proves unhelpful. Seeking refuge in a cathedral, Josef learns from a priest (Michael Lonsdale) that he has been condemned to death. Hastler abruptly appears at the cathedral to confirm the priest's assertion. On the evening before his thirty-first birthday, Josef is apprehended by two executioners and brought to a quarry pit, where he is forced to remove some of his clothing. The executioners pass a knife back and forth, apparently deliberating on who will do the deed, before handing the knife to the condemned man, who refuses to commit suicide. The executioners leave Josef in the quarry and toss dynamite in the pit. Josef laughs at his executioners and picks up the dynamite. From a distance one can hear an explosion and smoke billows into the air.[5]

THREE COLOURS: BLUE (Krzysztof Kieslowski, 1993)

Julie, the wife of the famous French composer Patrice de Courcy, loses her husband and daughter in an automobile accident but survives herself. While recovering in the hospital, Julie tries to commit suicide by taking an overdose of pills but is unable to swallow them. After being released from the hospital, Julie, who is thought to have helped write much of her husband's famous pieces, destroys what remains of his work. She contacts Olivier, a collaborator of her husband's who has always admired her, and sleeps with him before bidding him farewell. She empties the family home and puts it up for sale, taking an apartment in Paris near Rue Mouffetard without informing anyone. Her only memento is a mobile of blue beads that is hinted to have belonged to her daughter. Julie dissociates herself from her past life and distances herself from former friendships. She is no longer recognized by her mother, who suffers from Alzheimer's. She reclaims and destroys the unfinished score for her late husband's last commissioned work, a piece celebrating European unity following the end of the Cold War. Excerpts of its music, however, haunt her throughout the film. Despite her desire to live anonymously and alone, Julie is soon confronted by her past. A boy who witnessed the accident gives her a cross necklace found at the scene and asks her about her husband's last words, the punchline of an indelicate joke. Julie allows the boy to keep the necklace. Julie also reluctantly befriends Lucille, an exotic dancer who is having an affair with one of her neighbors and is despised by most people in the apartment building. The two women provide emotional support for each other. While comforting Lucille at the club where she works, Julie sees Olivier being interviewed on TV, revealing that he kept a copy of the European piece and plans to finish it himself. Julie then sees a picture of Patrice with another woman. Julie confronts Olivier about the European piece and asks him about the woman seen with Patrice. She tracks down Sandrine, a lawyer and Patrice's lover, and finds out that she is pregnant with his child. Julie arranges for Sandrine to have the family home, not yet sold, and eventual recognition of his paternity for the child. Julie then returns to working on the piece with Olivier and finishes the final part. She calls Olivier, who refuses to take the piece as his own unless Julie is credited as well, to which Julie agrees. Julie then calls Olivier again and asks him if he still loves her; he says yes, and Julie proceeds to meet him. In the final sequence, part of the completed Unity of Europe piece is played, which features chorus and a solo soprano singing in Greek the praise of divine love in Saint Paul's first letter to the Corinthians. Images are seen of all the people Julie has affected by her actions. The film ends with a shot of Julie crying before she begins to smile gradually.

IKIRU (Akira Kurosawa, 1952)

Kanji Watanabe has worked in the same monotonous, bureaucratic position for 30 years, and he is near his retirement. His wife is dead, and his son, Mitsuo, and daughter-in-law, who live with him, seem to care mainly about Watanabe's pension and their future inheritance. At work, he's a party to constant bureaucratic inaction. In one case, a group of parents seemingly endlessly are referred to one department after another when they want a cesspool cleared and replaced by a playground. After learning he has stomach cancer and less than a year to live, Watanabe attempts to come to terms with his impending death. He plans to tell his son about the cancer, but decides against it when his son does not pay attention to him. He then tries to find escape in the pleasures of Tokyo's nightlife, guided by an eccentric novelist whom he has just met. In a nightclub, Watanabe requests a song from the piano player, and sings "Gondola no Uta" with great sadness. His singing greatly affects those watching him. After one night submerged in the nightlife, he realizes this is not the solution. The following day, Watanabe encounters Toyo, a young female subordinate, who needs his signature on her resignation. He takes comfort in observing her joyous love of life and enthusiasm, and he tries to spend as much time as possible with her. She eventually becomes suspicious of his intentions and grows weary of him. After convincing her to join him for the last time, he becomes opens and asks for the secret to her love of life. She says that she does not know but that she found happiness in her new job making toys, which makes her feel like she is playing with all the children of Japan. Inspired by her, Watanabe realizes that it is not too late for him to do something significant. Like Toyo, he wants to make something, but he is unsure what he can do within the city bureaucracy until he remembers the lobbying for a playground. He surprises everyone by returning to work after a long absence, and he begins pushing for a playground despite concerns that he is intruding on the jurisdiction of other departments. Watanabe dies, and at his wake, his former co-workers gather, after the opening of the playground, to figure out what caused such a dramatic change in his behavior. His transformation from listless bureaucrat to passionate advocate puzzles them. As the co-workers drink, they slowly realize that Watanabe must have known he was dying, even when his son denies this truth, as he was unaware of his father's condition. They also hear from a witness that, in the last few moments in Watanabe's life, he sat on the swing at the park he built. As the snow fell, he sang "Gondola no Uta". The bureaucrats vow to live their lives with the same dedication and passion as he did, but back at work, they lack the courage of their newfound conviction.

PERFUMED NIGHTMARE (Kidlat Tahimik, 1977)

Kidlat, a jeepney driver in a village in the Philippines, dreams of becoming an astronaut and making it big in the United States. His dreams take him as far as Europe and to a series of events that will show him that his idealisation of what Western and European culture has to offer is far from real.

THE STORY OF THE LAST CHRYSANTHEMUMS (Kenji Mizoguchi, 1939)

Kikunosuke Onoe, generally called Kiku, is the adopted son of a famous Tokyo kabuki actor, who is training to succeed his father in an illustrious career. Whilst hypocritically praising Onoe's acting to his face, the rest of his father's troupe deride him behind his back. Otoku, who lives at the father's house as the young wet-nurse of the infant son of the father's natural son, is the only one frank enough to disclose his artistic shortcomings and urge him to improve himself. When Otoku is dismissed by Kiku's family for her over-closeness to the young master, with the potential for scandal, Kiku tracks her down and states that he wishes to marry her. His family is outraged and Kiku is forced to leave Tokyo, taking the train to Nagoya, honing his art away from his father, much to the latter's wrath. One year later, Kiku is acting alongside his uncle, Tamiro Naritaya in Osaka, but remains dissatisfied and wishes to join a traveling troupe. Then Otoku tracks down Kiku and re-inspires him. She becomes his common law wife and continues to encourage him. When his uncle dies, four years later, he decides to join a travelling troupe and their times together become even harder. A further four years pass and we see Kiku and Otoku on the road, their fellow actors squabbling over small amounts of money. Kiku has changed in character to the point where he even strikes her. She still loves him, but his love has clearly faded. Their position worsens and Otoku becomes very sick. Otoku goes to meet Kiku's brother to beg that he be given an acting role in Tokyo, re-using the famous family name. He agrees that Kiku can play the part he was due to play on two conditions: one, that his acting has improved; two, that he and Otoku separate, as this is needed to reconcile with their father. Fuku returns with Otoku to fetch Kiku. Kiku gives a bravura performance of Sumizome, a difficult and critical female role. He has at last found his niche and the fame he had always sought as a kabuki actor. Otoku watches sadly from the wings, but she is happy for him. The family agree that Kiku may perform in Tokyo. As Kiku boards the train to Tokyo Otoku cannot be found, and Fuku hands him a letter from her, explaining everything. His companions explain that he must continue to Tokyo in order to make Otoku's sacrifice worthwhile. He is a success. The Tokyo troupe visit Osaka and have a triumphant welcome. Kiku's father says that Kiku may take pride of place in the river parade after the performance. The landlord comes and tells Kiku that Otoku is ill and will die that night. Kiku hesitates as it is his evening of glory, but his father forces him, saying how much Otoku helped him. Ultimately Kiku's father accepts Kiku's marriage to Otoku and Kiku tells her this, but this reconciliation comes only when she is already on her deathbed (due, by implication, to tuberculosis). Proud that he is at last happy, she urges him to join the river parade because the audience is waiting to see and praise him. She dies, while the theater's parade led by her husband can be heard in the distance.

LA RÉGION CENTRALE (Michael Snow, 1971)

La Région Centrale is three hours long, composed of seventeen shots of an uninhabited mountainous landscape.[1] Between each take, the screen is black with a white X in the center.[2] In the beginning, the camera moves to capture its surroundings with slow, continuous gestures. Over the course of the film, the movement crescendos as the camera spins rapidly.[3]

ONCE UPON A TIME IN THE WEST (Sergio Leone, 1968)

The "once upon a time" story develops around the Old West town of "Flagstone". A man arrives who wears a harmonica on a cord about his neck - and so is dubbed "Harmonica" after it - seeking revenge against the outlaw, Frank. Currently, Frank works as a hired gunman for the railroad tycoon, Morton, who is trying to acquire land owned by the Brett McBain family. A second outlaw, Cheyenne, becomes implicated in the killings that arise from this. Harmonica kills three men who ambush him on his arrival at the train station. The dusters they wear lead him to believe they are Cheyenne's men. Meanwhile, Frank and his henchmen kill Brett McBain and his three children at their "Sweetwater" ranch and leave behind evidence to frame Cheyenne for the murders. A woman named Jill arrives in Flagstone, on her way to Sweetwater for what is assumed to be her upcoming marriage to McBain. However, Jill, formerly a New Orleans prostitute, had actually married McBain one month earlier and is thus the sole heir to Sweetwater. As it will emerge, McBain knew the railroad would pass through Sweetwater one day, and he planned to build a watering station on his property, subject to a reverter that McBain would forfeit Sweetwater if the station was not built by the time the railroad reached that point. Morton had intended that Frank only intimidate McBain, but McBain's murder and Jill's inheritance put Morton and Frank at odds. Morton wants to make a deal with Jill, but Frank wants the land for himself. Cheyenne denies that it was his men who tried to ambush Harmonica, and is infuriated when accused of the murder of the McBains as well. Harmonica and Cheyenne eventually realize that Frank was behind both the ambush and the murders. Harmonica rides out to the railway carriage, to which Morton is confined on crutches owing to his spinal tuberculosis. There he is captured by Frank's men as he discovers the connection between Frank and Morton. When Frank asks for Harmonica's name, he replies instead with names of men that Frank has killed in the past. While Frank is called away, Cheyenne rescues Harmonica and the two collaborate to help Jill save Sweetwater, using stockpiled materials to start building a station. After a threatening sexual encounter with Frank, Jill is forced to auction the land while Frank's henchmen intimidate the bidders in order to keep the purchase price low. Suddenly, Harmonica appears with Cheyenne in tow and bids $5,000, which is the price on Cheyenne's head as a wanted fugitive, and gets the property himself. Meanwhile, Morton has bribed Frank's own men to kill him, but Harmonica intervenes to save Frank from being ambushed in the street. When Jill blames Harmonica for this, he replies that there is a difference between his action now and his plans for Frank in the future. Cheyenne eventually escapes custody, and he and his gang engage Frank's remaining men in a gunfight at Morton's train. Except for Cheyenne, who heads to Sweetwater, everyone is killed, including Morton. When Frank sees the aftermath of the fight, he rides to Sweetwater too, where he finds Harmonica waiting. Cheyenne has arrived earlier, but he remains in the ranch house with Jill. Outside, Harmonica and Frank engage in a showdown; through a flashback, it is revealed that Frank had once hanged Harmonica's older brother, forcing the younger brother to support him on his shoulders. Just before the panting boy collapsed under the weight, Frank had forced a harmonica into his mouth, telling him to "Keep your lovin' brother happy". In the present, Harmonica beats Frank to the draw, fatally wounding him. As Frank lies dying, he again asks Harmonica's identity, and Harmonica's answer is to place the instrument in Frank's mouth as he breathes his last. Harmonica and Cheyenne leave Sweetwater, but Cheyenne collapses and dies from a gut wound he received in the gunfight with Morton. As Harmonica departs carrying Cheyenne's body on a horse, Jill serves water to the railroad workers.

BRIEF ENCOUNTER (David Lean, 1945)

Laura Jesson, a respectable middle-class British woman in an affectionate but rather dull marriage, tells her story while sitting at home with her husband, imagining that she is confessing her affair to him. Like many women of her class at the time, Laura visits a nearby town every Thursday for shopping and a matinée movie. Returning from one such excursion to Milford, while waiting in the railway station's refreshment room, she is helped by another passenger, who solicitously removes a piece of grit from her eye. The man is Alec Harvey, an idealistic general practitioner who also works Thursdays as a consultant at the local hospital. Both are in their late thirties or early forties, married, and with children (although Alec's wife Madeleine and their two sons are unseen). Celia Johnson and Trevor Howard The two accidentally meet again outside Boots the Chemist, and then on a third meeting share a table at lunch, then, both having free time, go to an afternoon performance at the Palladium Cinema. They are soon troubled to find their innocent and casual relationship developing into something deeper, approaching infidelity. They meet openly until they run into friends of Laura's and the perceived need to deceive others arises. The second lie comes more easily. They eventually go to a flat belonging to Stephen, a friend of Alec's and a fellow doctor, but are interrupted by Stephen's unexpected and judgmental return. Humiliated and ashamed, Laura runs down the back stairs and into the streets. She walks and walks, and sits on a bench for hours, smoking, until a concerned policeman encourages her to get out of the cold. She arrives at the station just in time for the last train home. The recent turn of events makes the couple realise that an affair or a future together is impossible. Understanding the temptation and not wishing to hurt their families, they agree to part. Alec has been offered a job in Johannesburg, South Africa, where his brother lives. Their final meeting occurs in the railway station refreshment room, now seen for a second time with the poignant perspective of their story. As they await a heart-rending final parting, Dolly Messiter, a talkative acquaintance of Laura's, invites herself to join them and begins chattering away, oblivious to the couple's misery. As they realise that they have lost their chance for a final goodbye, Alec's train arrives. With Dolly still chattering, Alec departs without the passionate farewell for which they both long. After shaking Dolly's hand, he discreetly squeezes Laura on the shoulder and leaves. Laura waits for a moment, anxiously hoping that Alec will walk back into the refreshment room, but he does not. As the train is heard pulling away, Laura is galvanised by emotion, and, hearing an approaching express train, dashes out to the platform. The train's lights flash across her face as she conquers a suicidal impulse. She then returns home to her family. Laura's kind and patient husband, Fred, shows that he has noticed her distance, though whether he has guessed the reason is not clear. He thanks her for coming back to him. She cries in his embrace.

LE PLAISIR (Max Ophüls, 1952)

Le Masque A masked young dandy goes to an ornate dance hall, where he finds a young woman to be his dance partner. When he faints from the exertion, a doctor is called. He discovers that the dandy's mask hides his aged appearance. The doctor takes the old man home to his patient wife. She explains that her husband Ambroise used to attract the ladies who frequented the hairdresser salon where he worked, but in the space of two years, he lost his looks. He goes out in disguise in an attempt to recapture his youth. La Maison Tellier Julia Tellier, the well-respected madam of a small-town brothel, takes her girls on an outing to her brother's village to attend the First Communion of her niece. Her regular patrons are taken aback when they discover the brothel closed without explanation that Saturday night. One finally discovers a sign explaining the reason and is relieved. At the village, everyone is very impressed by the group of elegant ladies who have appeared to support the girl at her First Communion. The prostitutes are moved to tears by the ceremony, as is the rest of the congregation. Julia's brother Joseph becomes infatuated with Rosa, one of her workers, and promises to visit next month. Le Modèle A painter falls in love with his model. Things are idyllic at first, but after living together for a while, they begin to quarrel constantly. Finally, he moves in with his friend. She eventually finds him, but he wants no more to do with her. He ignores her threat to jump from a window, and is so guilt-ridden when she does so immediately that he marries her.

THE BIG SLEEP (Howard Hawks, 1946)

Los Angeles private detective Philip Marlowe is summoned to the mansion of General Sternwood, who wants to resolve "gambling debts" his daughter Carmen owes to bookseller Arthur Geiger. As Marlowe leaves, Sternwood's older daughter Vivian stops him. She suspects her father's true motive for hiring a detective is to find his protégé Sean Regan who disappeared a month earlier. Marlowe goes to Geiger's shop, which is minded by Agnes Louzier, and then follows Geiger home. Hearing a gunshot and a woman's scream, he breaks in to find Geiger's body and a drugged Carmen, as well as a hidden camera empty of film. After taking Carmen home, he returns and discovers that the body has disappeared. During the night, Marlowe learns that Sternwood's driver, Owen Taylor, has been found dead in a limo floating off the Lido Pier, having been struck on the back of the head. Vivian comes to Marlowe's office the next morning with scandalous pictures of Carmen that she received with a blackmail demand for the negatives. Marlowe returns to Geiger's bookstore and follows a car to the apartment of Joe Brody, a gambler who previously blackmailed General Sternwood. He then finds Carmen outside Geiger's house, where she insists that it was Brody who killed Geiger. They are interrupted by the landlord, gangster Eddie Mars. Marlowe goes to Brody's apartment, where he finds Agnes and Vivian. They are interrupted by Carmen, who wants her photos. Marlowe disarms her and sends Vivian and Carmen home. Brody admits he was behind the blackmailing, having stolen the negatives from Taylor, but then has to answer the door and is shot. Marlowe chases the killer and apprehends Carol Lundgren, Geiger's former driver, who believes Brody is swindling him. Marlowe calls the police to arrest Lundgren. Marlowe visits Mars' casino where he asks about Regan, who supposedly ran off with Mars' wife. Mars is evasive and tells Marlowe that Vivian is running up gambling debts. Vivian wins a big wager and then wants Marlowe to take her home. A stooge of Mars' attempts to rob Vivian but Marlowe knocks him out. While driving back, Marlowe presses Vivian on her connection with Mars but she admits nothing. Back at home, Marlowe finds a flirtatious Carmen waiting for him. She says she did not like Regan and mentions that Mars calls Vivian frequently. When she attempts to seduce Marlowe, he throws her out. The next day, Vivian tells him he can stop looking for Regan; he has been found in Mexico and she is going to see him. Mars has Marlowe beaten up to stop him investigating further. He is found by Harry Jones: an associate of Agnes and besotted with her. Jones conveys her offer to reveal Mars' wife's location for $200. When Marlowe goes to meet him and be taken to her hiding place, he spots Canino, a gunman hired by Mars, who is there to find Agnes. As Marlowe watches from hiding, Canino threatens Jones until Jones tells him Agnes's location. Canino then forces Jones to have a "drink" which turns out to be poison. Afterward, Marlowe discovers that Jones lied about Agnes's location. Philip Marlowe (Bogart) and Vivian Rutledge (Bacall) eye to eye Agnes telephones the office while Marlowe is still there and he arranges to meet her. She has seen Mona Mars behind an auto repair shop near a town called Realito. When he arrives, Marlowe is attacked by Canino. He awakes tied up, with Mona watching over him. Vivian is there too and frees Marlowe, allowing him to get his gun and kill Canino. They drive back together and Marlowe calls Mars from Geiger's house, pretending to be still in Realito. Mars arrives with four men, who set up an ambush outside. When Mars enters, surprised to see Marlowe, Marlowe says Mars has been blackmailing Vivian, as Carmen had killed Regan; Mars claims she did this in a mental haze, though Marlowe doubts Mars' credibility. He then forces Mars outside, where he is shot by his own men. Marlowe calls the police, telling them that Mars killed Regan, which may be the truth.[9][10][11] He also convinces Vivian that her sister needs psychiatric care, and Vivian says to Marlowe of her own problems that there's "Nothing you can't fix."

MADAME DE... (Max Ophüls, 1953)

Louise (Danielle Darrieux) is an aristocratic woman of Belle Époque Paris, married to André (Charles Boyer), both a count and a high-ranking French army general. Louise is a beautiful, but spoiled and superficial woman who has amassed debts due to her lifestyle. She arranges to secretly sell her costly heart-shaped diamond earrings, a wedding present from her husband, to the original jeweler, Mr Rémy (Jean Debucourt). Relations between Louise and André are companionable, but they sleep in separate beds, have no children, and André has a secret mistress, of whom he has recently tired. Louise disguises the disappearance of the earrings by pretending to have lost them at the opera. The search for them eventually reaches the newspapers ("Theft at the Theatre") which in turn prompts Rémy to go to André and "discreetly" offer to sell them back. He accepts cheerfully and, rather than confront his wife, coolly gives the earrings to his mistress, Lola (Lia Di Leo), whom he happens to be seeing off permanently to Constantinople. At her destination, however, Lola soon sells the earrings herself to settle gambling debts and they are later purchased by an Italian baron, Fabrizio Donati (Vittorio De Sica), who is on his way to a high diplomatic post in Paris. Through a series of encounters, Donati becomes infatuated with Louise, later dancing with her long into the night at a ball. André's long absence "on maneuvers" facilitates the couple's affair. With each passage of time, the baron asks Louise if she has heard from her husband. André's return prompts Louise to stop seeing Donati, but during a hunting excursion where all three are present, she witnesses Donati fall from his horse and faints. She is said to have a "weak heart," but André sees this behavior as an affectation, and the event makes him suspicious. Louise becomes disconsolate and announces that she will take a long holiday in the Italian Lake region, alarming both her husband and her lover. Donati brings gifts: roses with the very earrings she had sold earlier. What she had cast aside so easily before suddenly has meaning to her. On her own in Italy, Louise tries to forget Donati who regales her with letters, to which she writes responses, all of which she promptly destroys. She meets with him secretly again and confesses that she's able to console herself only through possession of the earrings, which she now identifies with her lover, not her marriage. Upon her return to Paris, Louise resolves to continue with the affair. To explain the reappearance of the earrings, she now creates an elaborate ruse that they had been misplaced in one of her gloves the entire time, making a big show of "finding" them in front of André. He knows she is lying but says nothing. At yet another formal ball, André takes the earrings from Louise, quietly takes Donati aside, and confronts him about them, revealing their true history. He then gives them to Donati instructing him to sell them back to the jeweler, so that he may buy them back a third time to give yet again to Louise. Before departing, Donati informs Louise he can no longer see her and expresses his pain at learning of her lies. Louise falls into a deep depression. André presents her with the earrings he has bought back and informs her that her unhappiness is her own fault and that she must give the earrings away to his niece who has just given birth. Louise tearfully agrees. The niece is soon forced to sell the earrings yet again to Rémy to pay off her own husband's debts, and Rémy offers to sell them back to André for a fourth time, but he now angrily refuses. Louise goes to the jeweler herself and buys the earrings back with money from sales of her other jewelry and furs. She informs André of what she has done. In his anguish at having lost her love - or perhaps never having had it - André goes to the gentleman's club where he confronts Donati on the pretext of a slight and challenges him to a duel with pistols. Louise pleads with Donati not to go through with the duel; André has been seen to be an excellent shot and will surely kill him. Donati is pensive, but refuses to withdraw and arrives at the dueling field with his and André's seconds. Meanwhile, Louise goes to the Church of Saint-Étienne-du-Mont to pray fervently at the shrine of St. Geneviève that Donati be spared - the same place where she was seen earlier praying frivolously that the jeweler will be willing to buy back her earrings. She then races with her servant to the duel just as the agents inform the duelists that the "offended party," André, is allowed to fire first. He takes aim at Donati, who stands unflinching. As Louise hastens up the hill toward the duel, a single shot is heard, but no second shot, implying that one duelist may be dead. She slumps against a tree as the servant runs for help. Ultimately, it is seen that Louise has left a burning candle at the shrine, along with her prized earrings, and a card reading that they are a (implied posthumous) gift from her.

PANDORA'S BOX (G.W. Pabst, 1929)

Lulu is the mistress of a respected, middle-aged newspaper publisher, Dr. Ludwig Schön. One day, she is delighted when an old man, her "first patron", Schigolch, shows up at the door to her highly contemporary apartment. However, when Schön also arrives, she makes Schigolch hide on the balcony. Schön breaks the news to Lulu that he is going to marry Charlotte von Zarnikow, the daughter of the Minister of the Interior. Lulu tries to get him to change his mind, but when he discovers the disreputable-looking Schigolch, he leaves. Schigolch then introduces Lulu to Rodrigo Quast. Quast wants her to join his new variety act. The next day, Lulu goes to see her best friend Alwa, who happens to be Schön's son. Schön is greatly displeased to see her, but comes up with the idea to have her star in his son's musical production to get her off his hands. However, Schön makes the mistake of bringing Charlotte to see the revue. When Lulu refuses to perform in front of her rival, Schön takes her into a storage room to try to persuade her otherwise, but she seduces him instead. Charlotte finds them embracing. A defeated Schön resigns himself to marrying Lulu. While the wedding reception is underway, he is disgusted to find Lulu playfully cavorting with Schigolch and Quast in the bedchamber. He gets his pistol and threatens to shoot the interlopers, but Lulu cries out not to, that Schigolch is her father. Schigolch and Quast thus escape. Once they are alone, Schön insists his new wife take the gun and shoot herself. When Lulu refuses, the gun goes off in the ensuing struggle, and Schön is killed. At her murder trial, Lulu is sentenced to five years for manslaughter. However, Schigolch and Quast trigger a fire alarm and spirit her away in the confusion. When Alwa finds her back in the Schön home, he confesses his feelings for her and they decide to flee the country. Countess Augusta Geschwitz, herself infatuated with Lulu, lets the fugitive use her passport. On the train, Lulu is recognized by another passenger, Marquis Casti-Piani. He offers to keep silent in return for money. He also suggests a hiding place, a ship used as an illegal gambling den. Casti-Piani sells Lulu to an Egyptian for his brothel. Lulu, Geschwitz, Alwa, Schigolch, and Quast are now passengers on the gambling ship. Quast blackmails Lulu for financing for his new act. Desperate for money to pay the Egyptian off, Alwa cheats at cards and is caught. Having turned to Geschwitz for help, Lulu now asks Schigolch. He persuades a reluctant Geschwitz to lure Quast to a stateroom, where she kills him. Lulu, Schigolch, and Alwa flee in a rowboat as the police swarm the ship. They end up in squalor, in a drafty London garret. On Christmas Eve, driven to prostitution, Lulu has the misfortune of picking a remorseful Jack the Ripper. Though he protests he has no money, she likes him and invites him to her lodging anyway. Jack is touched and secretly throws away his knife. Schigolch drags Alwa away before they are seen. Although he genuinely likes her, Jack spots a knife on a table as they embrace and cannot resist his urge to kill. Unaware of Lulu's fate, Schigolch celebrates with a group of revelers and fulfills his lifelong wish to eat Christmas pudding while a broken Alwa (who sees Jack leave) follows a passing Salvation Army parade.

LÉON (Luc Besson, 1994)

Léon is an Italian hitman (or "cleaner", as he refers to himself) in the Little Italy neighborhood of New York City working for a mafioso named "Old Tony". One day, Léon meets Mathilda Lando, a lonely twelve-year-old who lives with her dysfunctional family in an apartment down the hall from Léon, and has stopped attending class at her school for troubled girls. Mathilda's abusive father attracts the ire of corrupt DEA agents, who have been paying him to stash cocaine in his apartment. After they discover that he has been stealing the cocaine, DEA agents storm the building, led by their boss, the sharply dressed drug-addict Norman Stansfield. During the raid, Stansfield murders Mathilda's family while she is out shopping for groceries. When she returns, Mathilda realizes what has happened just in time to continue down the hall to Léon's apartment; he hesitantly gives her shelter. Mathilda quickly discovers that Léon is a hitman. She begs him to take care of her and to teach her his skills, as she wants to avenge the murder of her four-year-old brother. At first, Léon is unsettled by her presence and considers murdering her in her sleep but he eventually trains Mathilda and shows her how to use various weapons. In exchange, she runs his errands, cleans his apartment and teaches him how to read. Mathilda looks up to Léon and quickly develops a crush on him, often telling him she loves him but he does not reciprocate. When Léon is out on a job, Mathilda fills a bag with guns from Léon's collection and sets out to kill Stansfield. She bluffs her way into the DEA office by posing as a delivery girl, and is ambushed by Stansfield in a bathroom. One of his men arrives and informs him that Léon killed Malky, one of the corrupt DEA agents, in Chinatown that morning. Léon, after discovering her plan in a note left for him, rescues Mathilda, killing two more of Stansfield's men in the process. An enraged Stansfield confronts Tony, who is tortured for Léon's whereabouts. Léon tells Mathilda about how he became a hitman. When Léon was eighteen in Italy, he fell in love with a girl from a wealthy family, but Léon's family was poor. The two made plans to elope but when the girl's father discovered them, he killed her out of anger. Léon killed the father in revenge and fled to New York, where he met Tony and trained to become a hitman. Later, while Mathilda returns home from grocery shopping, an NYPD ESU team sent by Stansfield captures her and infiltrates Léon's apartment. Léon ambushes the ESU team and rescues Mathilda. Léon creates a quick escape for Mathilda by smashing a hole in an air shaft. He tells her that he loves her and to meet him at Tony's place in an hour, moments before the ESU team blow up the apartment. In the chaos, a wounded Léon sneaks out of the building disguised as a wounded ESU officer. He goes unnoticed by everyone except Stansfield, who follows him and shoots him in the back. As Léon dies, he presses a grenade pin in Stansfield's palm, saying that it is from Mathilda. Stansfield opens Léon's vest to find a cluster of grenades, which detonate, killing Stansfield. Mathilda goes to Tony and tries to convince him to hire her, but Tony flatly refuses to hire a twelve-year-old and tells Mathilda that Léon told him to give his money to her if anything happened to him. Tony gives Mathilda $100 as an allowance and sends her back to school, where the headmistress re-admits her after Mathilda reveals what has happened. Mathilda walks onto a field near the school to plant Léon's houseplant, as she had told Léon, to "give it roots".

MON ONCLE (Jacques Tati, 1958)

M. Hulot (Jacques Tati) is the dreamy, impractical, and adored uncle of nine-year-old Gérard Arpel, who lives with his materialistic parents, M. and Mme. Arpel, in an ultra-modern geometric house and garden, Villa Arpel, in a new suburb of Paris, situated just beyond the crumbling stone buildings of the old neighborhoods of the city. Gérard's parents are entrenched in a machine-like existence of work, fixed gender roles, the acquisition of status through possessions, and conspicuous displays to impress guests, such as the fish-shaped fountain at the center of the garden that, in a running gag, Mme. Arpel activates only for important visitors. A replica of Villa Arpel at the Cent Quatre in Paris Each element of Villa Arpel is stylistically rather than functionally designed, creating an environment completely indifferent to the comfort, or lack of comfort, of its occupants. In choosing modern architecture to punctuate his satire, Tati once stated, "Les lignes géométriques ne rendent pas les gens aimables" ("geometrical lines do not produce likeable people").[10] From inconveniently-located stepping stones, to difficult-to-sit-on furniture, to a kitchen filled with deafeningly loud appliances, every facet of Villa Arpel emphasizes the impracticality of a dedication to superficial aesthetics and electrical gadgets over the necessities of daily living. Despite the superficial beauty of its modern design,[11] the Arpels' home is entirely impersonal, as are the Arpels themselves. In fact, M. and Mme. Arpel have completely subordinated their individuality to maintain their social position and their shiny new possessions. Tati emphasizes his themes surrounding the Arpel lifestyle (as well as M. Arpel's automatonic workplace, Plastac) with monochromatic shades and cloudy days. By contrast, Monsieur Hulot lives in an old and run-down city district.[12] He is unemployed, and gets around town either on foot or on a VéloSoleX motorized bicycle. Gérard, utterly bored by the sterility and monotony of his life with his parents, fastens himself to his uncle at every opportunity. Hulot, little more than a child himself at times, is completely at home with Gérard, but also completely ineffectual at controlling his horseplay with his school friends, who take delight in tormenting adults with practical jokes.[6] Exasperated at their relative's perceived immaturity, the Arpels soon scheme to saddle him with the twin yokes of family and business responsibilities.[6]

THE CRIME OF MONSIEUR LANGE (Jean Renoir, 1936)

M. Lange is a mild-mannered writer of Western stories for a publishing company. Batala, the salacious owner of the company, flees his creditors. When his train crashes, he takes the opportunity to fake his own death. The abandoned workers, with the help of an eccentric creditor, form a cooperative. They have great success with Lange's stories about the cowboy, Arizona Jim, whose stories parallel the real-life experiences of the cooperative. At the same time, Lange and his neighbor Valentine, an old flame of Batala's, fall in love. When Batala resurfaces, intending to reclaim the publishing company, Lange shoots and kills him to protect the cooperative. Lange and Valentine flee the country, stopping at an inn near the Belgian frontier where Valentine tells Lange's story to a group of the inn's patrons who had recognized Lange as the murderer on the run and threatened to alert the police. After hearing the story, the men sympathize with Lange and Valentine and allow them to escape across the border to freedom.

THE LIFE AND DEATH OF COLONEL BLIMP (Michael Powell & Emeric Pressburger, 1943)

Major-General Clive Wynne-Candy is a senior commander in the Home Guard during the Second World War. Before a training exercise, he is "captured" in a Turkish bath by soldiers led by Lieutenant "Spud" Wilson, who has struck pre-emptively. He ignores Candy's outraged protests that "War starts at midnight!" They scuffle and fall into a bathing pool. An extended flashback ensues. Boer WarIn 1902, Lieutenant Candy is on leave from the Boer War, where he has won the Victoria Cross. He receives a letter from Edith Hunter (one of several roles played by Deborah Kerr), who is working in Berlin. She complains that a German named Kaunitz is spreading anti-British "propaganda" regarding the Second Boer War concentration camps, and she wants the British embassy to intervene. When Candy brings this to his superiors' attention, they refuse him permission to go to Berlin, but he goes anyway. In Berlin, Candy and Edith go to a café, where he confronts Kaunitz. Provoked, Candy inadvertently insults the Imperial German Army officer corps. The Germans insist he fight a duel with an officer chosen by lot: Theo Kretschmar-Schuldorff. Candy and Theo become friends while recuperating from their wounds in the same nursing home. Edith visits them regularly and, although it is implied that she has feelings for Clive,[5] she becomes engaged to Theo. Candy is delighted, but soon realises that he loves her himself. First World WarIn November 1918, Candy, now a brigadier general, believes that the Allies won the First World War because "right is might". While in France, he meets nurse Barbara Wynne (Kerr again). She bears a striking resemblance to Edith. Back in England, he courts and marries her despite their twenty-year age difference. In July 1919, Candy tracks Theo down at a prisoner of war camp in Derbyshire. Candy greets him as if nothing has changed, but Theo snubs him. On 26 August about to be repatriated to Germany, Theo apologises and accepts an invitation to Clive's house. He remains sceptical that his country will be treated fairly. Barbara dies in August 1926, and Candy retires in 1935. Second World WarIn November 1939, Theo relates to a British Immigration official how he was estranged from his children when they became Nazis. Before the war, he refused to move to England when Edith wanted to; by the time he was ready, she had died. Candy vouches for Theo. Candy reveals to Theo that he loved Edith and only realised it after it was too late. He admits that he never got over it. Theo meets Candy's MTC driver, Angela "Johnny" Cannon (Kerr again), personally chosen by the Englishman; Theo is struck by her resemblance to Barbara and Edith. Candy, restored to the active list as a major-general, is to give a BBC radio talk regarding the retreat from Dunkirk. Candy plans to say he would rather lose the war than win it using the methods employed by the Nazis: his talk is cancelled. Theo urges his friend to accept the need to fight and win by whatever means are necessary because the consequences of losing are so dire. Candy is again retired, but, at Theo's and Angela's urging, turns his energy to the Home Guard - his efforts in building up that organisation win him national press attention.[a] His house is bombed in the Blitz and replaced by an emergency water supply cistern. He moves to his club, where he relaxes in a Turkish bath before a training exercise he has arranged. The brash young lieutenant who captures Candy is Angela's boyfriend, who used her to learn about Candy's plans and location. She tries to warn Candy, but is too late. Theo and Angela find Candy sitting across the street from where his house stood. He recalls that after being given a severe dressing down by his superior for causing the diplomatic incident, he declined the man's invitation to dinner, and often regretted doing so. He tells Angela to invite her boyfriend to dine with him. Years before, Clive had promised Barbara that he would "never change" until his house was flooded and "this is a lake". Seeing the cistern, he realises that "here is the lake and I still haven't changed". Candy salutes the new guard as it passes by.

MARNIE (Alfred Hitchcock, 1964)

Marion Holland flees with nearly $10,000 she stole from the company safe of her employer, Sidney Strutt, the head of a tax consulting company, whom she charmed into hiring her without references. Changing her appearance and identity, Marian, whose real name is Margaret "Marnie" Edgar, travels to Virginia, where she stables a horse named Forio. She then visits her invalid mother, Bernice, whom she supports financially, in Baltimore. Marnie suffers from recurring nightmares and has an intense aversion to the color red, which triggers her hysteria. Mark Rutland, a wealthy widower who owns a publishing company in Philadelphia, meets with Strutt on business. He learns about the theft and recalls Marnie from a previous visit. Some months later, Marnie, posing as Mary Taylor, applies for a job at Mark's company. Mark hires her after recognizing her. While working weekend overtime with Mark, Marnie has a panic attack during a thunderstorm. Mark comforts, then kisses her. They begin dating. Soon afterwards, Marnie steals money from Mark's company and flees again. Mark tracks her to the stable where she keeps Forio. He blackmails her into marrying him, much to the chagrin of Lil, the sister of Mark's late wife, who is in love with him. Lil grows suspicious when she discovers Mark has spent a considerable sum since marrying Marnie. On their honeymoon cruise, Marnie resists Mark's desire for physical intimacy. Eventually they consummate their relationship, though the act causes Marnie to have an episode. The next morning, she attempts to drown herself in the ship's swimming pool, but Mark saves her. After overhearing Marnie on a phone call, Lil tips off Mark that Marnie's mother is not dead, as Marnie claimed. Mark hires a private detective to investigate. Meanwhile, Lil overhears Mark telling Marnie he has "paid off Strutt" on her behalf. Lil mischievously invites Strutt and his wife to a party at the Rutland mansion. Strutt recognizes Marnie, but Mark pressures him into doing nothing. When Marnie later admits to additional robberies, Mark works to reimburse her victims to drop charges. Mark brings Forio to their estate, pleasing Marnie. During a fox hunt, the red riding coat worn by one of the hunters triggers another of Marnie's fits and Forio bolts, misses a jump, injures its legs, and is left lying on the ground screaming in pain. Marnie frantically runs to a nearby house, obtains a gun, and shoots her horse. Overcome with grief, Marnie goes home, where she finds the key to Mark's office. She goes to the office and opens the safe, but finds herself unable to take the money, even after Mark arrives and "urges" her to take it. Mark takes Marnie to Baltimore to confront her mother and uncover the truth about Marnie's past. They arrive in a thunderstorm. As it is revealed that Bernice was a prostitute, Marnie's long-suppressed memories resurface: when she was a small child, one of Bernice's clients tried to calm a frightened Marnie during a thunderstorm. Seeing him touch Marnie and believing he was trying to molest her, Bernice attacked him. As the man fended her off, she fell and injured her leg, leaving her disabled. Marnie, frightened and attempting to protect her mother, fatally struck the man in the head with a fireplace poker. The sight of his blood caused her hatred of the color red, the thunderstorm that night caused her fear of them, and the connection of the deadly night to sex caused her revulsion at physical intimacy. In the aftermath, Bernice told police that she killed the man and prayed Marnie would forget the event. Understanding the reason behind her behavior, Marnie asks for Mark's help. They leave holding each other closely.

POSSESSION (Andrzej Zulawski, 1981)

Mark is a spy who returns home to West Berlin from a mysterious espionage mission to find that his wife, Anna, wants a divorce. She will not say why but insists it is not because she found someone else. Mark reluctantly turns the apartment and custody of their young son, Bob, over to her. After recovering from a destructive drinking spree, he visits the apartment to find Bob alone, unkempt, and neglected. When Anna returns, he stays with Bob, refusing to leave her alone with the child, but attempts to make amends. Anna leaves in the middle of the night. Mark receives a phone call from Anna's lover, Heinrich, telling him that Anna is with him. The next day, Mark meets Bob's teacher, Helen; she inexplicably looks identical to Anna but with green eyes. Mark visits and fights Heinrich, who beats him. Mark then beats Anna at home, after which she flees. The next morning, they have another hysterical argument during which they both cut themselves with an electric knife, Anna on the throat and Mark on the arm. Mark hires a private investigator to follow Anna and discovers that she has been keeping a second flat in a derelict apartment building. When the investigator discovers a bizarre tentacled creature in the bathroom, Anna kills him with a broken bottle. The lover of the now-dead detective, Zimmerman, goes to the flat himself, where he finds the creature and his lover's dead body. Anna beats Zimmerman in a rage before stealing his gun and then shooting him to death. Anna continues her erratic behavior and recounts to Mark a violent miscarriage she suffered in the subway while he was gone. She claims it resulted in a nervous breakdown; during the miscarriage, she oozed blood and fluids from her orifices. Heinrich visits Anna at the second apartment and is shocked to discover the creature in the bedroom, as well as a collection of dismembered body parts in her refrigerator. She attacks him and Heinrich flees, bleeding. Heinrich calls Mark and begs him to pick him up. Mark stops by Anna's apartment first and discovers the body parts; the creature, however, is gone. Mark meets Heinrich at the bar where he murders him, but stages it as an accidental death in the bathroom stall. He then sets Anna's apartment on fire before fleeing on Heinrich's motorcycle. At home, he finds Anna's friend Margie on the point of death as she emerges from the lift, bleeding from knife wounds. She dies; he drags the body inside where Anna greets him, and the two have sex in the kitchen. Afterward, he makes plans to cover up Margie's death. He then discovers Anna having sex with the creature. Heinrich's mother phones Mark asking about her son. When he goes to meet with her, she commits suicide by taking several pills. The next day, as Mark wanders the street, his former business associates pressure him to rejoin them. He is evasive and returns to Margie's apartment to find it surrounded by police and his former employers. He stages a distraction, allowing someone to sneak away in his car, but he is wounded in the ensuing shootout. Fleeing on the motorbike, he has a horrific accident and races into a building where he is pursued by Anna, the police, and his business associates. Anna reveals the creature, now fully formed as Mark's doppelgänger. Mark raises his gun to shoot it but he and Anna are gunned down by a hail of bullets from the police below. Bloodied and dying, Anna lies atop Mark and uses his gun to shoot herself. She dies in his arms and he jumps to his death through the stairwell. The doppelgänger flees through the roof. Later, Helen is at the flat babysitting Bob when the doorbell rings. Bob implores her not to open the door, but Helen ignores him. From outside, the sound of sirens, planes, and explosions fill the air. Bob races through the flat into the bathroom, where he floats in the bathtub face-down, drowning himself. The silhouette of Mark's doppelgänger is seen from the frosted glass door. Helen stares, her eyes shining.

LA CHIENNE (Jean Renoir, 1931)

Maurice Legrand (Michel Simon), a meek cashier and aspirant painter, is miserably married to Adèle, an abusive woman who mistreats him. After a celebration in the company where he works, Maurice stumbles upon a man called André "Dédé" Jauguin (Georges Flamant) hitting a young woman called Lucienne "Lulu" Pelletier (Janie Marèse) on the street. Maurice protects Lulu and brings her home. Lulu, who is a prostitute, tells the naive Maurice that Dédé is her brother, but Dédé is actually her pimp. Maurice rents an apartment for Lulu and she becomes his mistress. Soon he brings his paintings to the apartment, since his wife Adèle intends to throw them away. But Dédé sells the paintings to an art dealer for a large amount, telling the dealer that Lulu had painted them using the alias Clara Wood. When Maurice stumbles upon Adèle's former husband who was supposedly killed in the War, he plots a scheme to get rid of Adèle. He succeeds in his intent, only to discover Lulu and Dédé in bed during the night. Shocked, he leaves, but returns in the morning to talk to Lulu. She confesses that she loves Dédé and humiliates Maurice, saying that the only reason she stayed with him was his money. Maurice attacks her with a knife and leaves the apartment with no witnesses. Dédé arrives moments later and discovers Lulu's body. Dédé is blamed for Lulu's death owing to his reputation, and he is executed. Maurice becomes a vagrant.

VIDEODROME (David Cronenberg, 1983)

Max Renn is the president of CIVIC-TV, a Toronto UHF television station specializing in sensationalist programming. Harlan, the operator of CIVIC-TV's unauthorized satellite dish, shows Max Videodrome, a plotless show apparently being broadcast from Malaysia which depicts anonymous victims being violently tortured and eventually murdered. Believing this to be the future of television, Max orders Harlan to begin unlicensed use of the show. Nicki Brand, a sadomasochistic radio host[7] who becomes sexually involved with Max, is aroused by an episode of Videodrome,[8] and goes to audition for the show when she learns that it is being broadcast out of Pittsburgh, but never returns. Max contacts Masha, a softcore pornographer, and asks her to help him find out the truth about Videodrome. Through Masha, Max learns that not only is the footage not faked, but it is the public "face" of a political movement. Masha further informs him that the enigmatic media theorist Brian O'Blivion knows about Videodrome. Max tracks down O'Blivion to a homeless shelter where vagrants are encouraged to engage in marathon sessions of television viewing. He discovers that O'Blivion's daughter Bianca runs the mission, intending to help realize her father's vision of a world in which television replaces every aspect of everyday life. Later, Max views a videotape in which O'Blivion informs him, before being garrotted by Nicki, that Videodrome is a socio-political battleground in which a war is being fought to control the minds of the people of North America; Max then hallucinates that Nicki speaks directly to him and causes his television to undulate as he kisses the screen. Disturbed, Max returns to O'Blivion's homeless shelter. Bianca tells him Videodrome carries a broadcast signal that causes the viewer to develop a malignant brain tumor. O'Blivion helped to create it as part of his vision for the future, and viewed the hallucinations as a higher form of reality. When he found out it was to be used for malevolent purposes, he attempted to stop his partners; they used his own invention to kill him. In the year before his death, O'Blivion recorded tens of thousands of videos, which now form the basis of his television appearances. Later that night, Max hallucinates placing his handgun in a slit in his abdomen. He is contacted by Videodrome's producer, Barry Convex of the Spectacular Optical Corporation, an eyeglasses company that acts as a front for an arms company, who uses a device to record Max's fantasies of whipping Nicki. Max then wakes up to find Masha's corpse in his bed. He frantically calls Harlan to photograph the body as evidence, but, shortly after he arrives, her body is no longer anywhere to be found. Wanting to see the latest Videodrome broadcast, Max meets Harlan at his studio. There, Harlan reveals that he has been working with Convex with the goal of recruiting Max to their cause: to end North America's cultural decay by giving fatal brain tumors to anyone so obsessed with sex and violence that they would watch Videodrome. Convex then inserts a brainwashing Betamax tape into Max's torso. Under Convex's influence, Max murders his colleagues at CIVIC-TV. He later attempts to murder Bianca, who manages to stop him by showing him a videotape of Nicki's murder on the Videodrome set. Bianca then 'reprograms' Max to her father's cause: "Death to Videodrome. Long live the new flesh." On her orders, he kills Harlan and Convex. Wanted for their murders as well of those of his colleagues, Max takes refuge on a derelict boat in the Port Lands. Appearing to him on a television, Nicki tells him he has weakened Videodrome, but in order to completely defeat it, he must ascend to the next level and "leave the old flesh". The television then shows an image of Max shooting himself in the head, which causes the set to explode. Reenacting what he has just seen on the television, Max utters the words "Long live the new flesh" and shoots himself.

REBECCA (Alfred Hitchcock, 1940)

Maxim de Winter stands at a cliff edge, seemingly contemplating jumping. A young woman shouts at him to stop him in his tracks, but he curtly asks her to walk on. Later, at Monte Carlo on the French Riviera, the same young woman is staying with her pompous old traveling companion, Mrs. Van Hopper. She again encounters the aristocratic widower Maxim de Winter, looking much more debonair. They are attracted to each other, and although Van Hopper tells her he is still obsessed with his dead wife, Rebecca, who we are told drowned in the sea near Manderley, she soon becomes the second Mrs. de Winter. Maxim takes his new bride back to Manderley, his grand mansion by the sea in southwestern England. It is dominated by its housekeeper, Mrs. Danvers. She is a chilly individual who had been a confidante of the first Mrs. de Winter, whose death she has not forgotten. She has even preserved Rebecca's grand bedroom suite unchanged, and displays various items that carry her monogram. Eventually, constant reminders of Rebecca's glamour and sophistication convince the new Mrs. de Winter that Maxim is still in love with his first wife, which could explain his irrational outbursts of anger. She tries to please her husband by holding a costume party as he and Rebecca used to. Danvers suggests she copy the dress that one of Maxim's ancestors is seen wearing in a portrait. However, when she appears in the costume, Maxim is appalled as Rebecca had worn an identical dress at her last ball, just before her death. When Mrs. de Winter confronts Danvers about this, she tells her she can never take Rebecca's place and tries to persuade her to jump to her death from the second-story window of Rebecca's room. At that moment, however, the alarm is raised because a ship has run aground due to the fog, and in the rescue of its crew, a sunken boat has been discovered with Rebecca's body in it. Maxim now confesses to his new wife that his first marriage had been a sham from the start. Rebecca had declared that she had no intention of keeping to her vows but would pretend to be the perfect wife and hostess for the sake of appearances. When she implied she was pregnant by her cousin and lover, Jack Favell, she taunted Maxim that the estate might pass to someone other than Maxim's line. During a heated argument, she fell, struck her head, and died. To conceal the truth, Maxim took the body out in a boat which he then scuttled, and identified another body as Rebecca's. The crisis causes the second Mrs. de Winter to shed her naïve ways as the couple plan to prove Maxim's innocence. When the police claim the possibility of suicide, Favell attempts to blackmail Maxim, threatening to reveal that she had never been suicidal. When Maxim goes to the police, they suspect him of murder. However, further investigation with a doctor reveals that she was not pregnant but terminally ill due to cancer, so the suicide verdict stands. Maxim realizes Rebecca had been trying to goad him into killing her to ruin him. As a free man, Maxim returns home to see Manderley on fire, set ablaze by the deranged Mrs. Danvers. All escape except Danvers, who dies when the ceiling collapses on her.

LA CIÉNAGA (Lucrecia Martel, 2001)

Mecha, a woman in her 50s with several teenage children and a husband, Gregorio, wants to remain looking young. In order to avoid the hot and humid weather of the city, the family spends the summers in their decaying country estate named La Mandrágora. After Mecha falls and injures herself, she is confined to her bed, and takes to drinking. She resents her gloomy Amerindian servants, whom she accuses of theft and laziness. Mecha's cousin Tali, who lives in a modest house in town with her husband Rafael, makes repeated visits with her brood of young, noisy children to escape from her claustrophobic home. Before long, the crowded domestic situation in both homes strains the families' nerves, exposing repressed family mysteries and tensions that threaten to erupt into violence.

AMERICAN BEAUTY (Sam Mendes, 1999)

Middle-aged executive Lester Burnham hates his job and is unhappily married to neurotic and ambitious real estate broker Carolyn. Their 16-year-old daughter, Jane, abhors her parents and has low self-esteem. Retired US Marine colonel Frank Fitts, his near-catatonic wife Barbara, and their teenage son Ricky move in next door. Ricky documents the world around him with a camcorder, collecting recordings on videotape in his bedroom, while using his part-time catering jobs as a front for dealing marijuana. Strict disciplinarian and abusive Frank has previously had Ricky committed to a psychiatric hospital and sent to a military academy. Gay couple Jim Olmeyer and Jim Berkley, also neighbors to the Burnhams, welcome the Fitts family. Frank later reveals his homophobia when angrily discussing the encounter with Ricky. During a dance routine at a school basketball game, Lester becomes infatuated with Jane's friend, Angela. He starts having sexual fantasies about her, in which red rose petals are a recurring motif. Carolyn begins an affair with married business rival Buddy Kane. Lester is informed by his supervisor that he is to be laid off; Lester blackmails him into giving him an indulgent severance package and starts working at a drive-through restaurant. He buys his dream car, a 1970 Pontiac Firebird, and starts working out after overhearing Angela teasing Jane that she would have sex with him if he improved his physique. He begins smoking marijuana supplied by Ricky and flirts with Angela. The girls' friendship wanes when Jane starts a relationship with Ricky, whom Angela scoffs at. Lester discovers Carolyn's infidelity when she and Kane order a meal at Lester's restaurant. He reacts with smug satisfaction. Buddy fears a costly divorce and ends the affair, while Carolyn is humiliated and simultaneously frustrated by her lack of professional success. Frank, suspicious of Lester and Ricky's friendship, finds footage Ricky captured by chance of Lester lifting weights while naked and wrongly concludes they are sexually involved. He viciously accuses Ricky of prostitution, which Ricky falsely admits to and goads his father into throwing him out. Carolyn, sitting distraught in her car, withdraws a handgun from the glove box. At home, Jane is arguing with Angela over her flirtation with Lester when Ricky interrupts to ask Jane to leave with him for New York City. He calls Angela ugly, boring, and ordinary. Frank tentatively approaches Lester, then breaks down and tearfully embraces him. Lester begins to comfort Frank until Frank attempts to kiss him. Lester gently rebuffs him, saying he has misunderstood, and Frank walks back out into the rain. Lester finds Angela sitting alone in the dark. He consoles her, saying she is beautiful and anything but ordinary. He asks what she wants, and she says she does not know. She asks him what he wants, and he says he has always wanted her. He takes her to the couch and as he begins to undress her, Angela admits her virginity. Lester is taken aback to realize her apparent experience was a veil for her innocence, and he cannot continue. He comforts her as they share their frustrations. Angela goes to the bathroom as Lester smiles at a family photograph, when an unseen figure shoots Lester in the back of the head at point-blank range. Ricky and Jane find Lester's body. Carolyn is in her closet, discarding her gun and crying hysterically as she hugs Lester's clothing. A bloodied Frank, wearing surgical gloves, returns home: a gun is missing from his collection. Lester's closing narration describes meaningful experiences during his life. He says that, despite his death, he is happy there is still so much beauty in the world.

KISS ME DEADLY (Robert Aldrich, 1955)

Mike Hammer is a tough private investigator who, with the assistance of his associate and lover Velda, typically works on "penny-ante divorce cases." One evening, Hammer is forced to suddenly stop his sports car by Christina, an escapee from a nearby psychiatric hospital, who is running barefoot along the road, wearing nothing but a trench coat. Hammer gives her a ride. Christina asks him, whatever happens, to "remember me," alluding to a poem by Christina Rossetti. Thugs waylay them, and Hammer hears Christina screaming as she is tortured to death. The thugs then push Hammer's car off a cliff with Christina's body and an unconscious Hammer inside. Hammer comes to in a hospital with Velda hovering over him. He decides to investigate Christina's death, believing that it "must be connected with something big." He retrieves a book of poetry from the dead woman's apartment and reads aloud several lines from Rosetti's poem, "Remember", as he tries to figure out what that something might be. Hammer goes to the apartment of Lily Carver, who says she was Christina's roommate. Lily tells Hammer she is in hiding and asks him to protect her. She is after a mysterious box that, she believes, has contents worth a fortune. Hammer later arrives at the lavish mansion of gangster Carl Evello, who also seeks the box. Hammer fends off Charlie Max and Sugar Smallhouse, two of Evello's henchmen, and then confronts Evello, who is initially impressed by Hammer's brazenness and offers to work out a deal, but swiftly retracts the offer. Hammer's friend, Nick the auto mechanic, who helped defuse bombs planted in Hammer's car, is then murdered. Carl's thugs kidnap Hammer and take him to an isolated beach house, where another of their associates, Dr. G. E. Soberin (revealed to be Christina and Nick's murderer), injects him with sodium pentothal before interrogating him. Hammer slips free of his bonds, kills Carl and Sugar, and escapes. He locates the suspiciously-hot box, which burns his arm, in a locker at the Hollywood Athletic Club, but when he goes to his friend Lieutenant Murphy for help, Murphy warns him off, hinting it has to do with a top-secret government experiment akin to the Manhattan Project. Hammer goes back to the beach house. Before he arrives, Lily, now revealed to be an imposter named Gabrielle, is there with Soberin. They have the box, and have Velda locked in a bedroom. Gabrielle shoots Soberin to get the box for herself. With his dying words, Soberin urges the insatiably curious Gabrielle not to open it. When Hammer comes into the room, Gabrielle says "Kiss me, Mike" and shoots him. She then opens the box, which emits a blinding light and piercing sound. Gabrielle screams and bursts into flames. Hammer, wounded, struggles to his feet, and looks for Velda. Together, the pair flee the burning house, helping each other along the beach to the ocean as the house explodes behind them and becomes consumed in flames.[5]

A MATTER OF LIFE AND DEATH (Michael Powell & Emeric Pressburger, 1946)

On 2 May 1945, Squadron Leader Peter Carter, an RAF pilot, is flying a badly damaged and burning Lancaster bomber over the English Channel, after a mission over Germany. Carter is expecting to die, after ordering his crew to bail out, without revealing to them that his own parachute has been destroyed. The only radio operator receiving him is June, at a USAAF base on the coast of England. For a few minutes Carter converses with June, before jumping from the Lancaster without a parachute. Peter should have died at that point, but Conductor 71, the guide sent to escort him to the Other World, misses him in the thick fog over the English Channel. The airman wakes up on a beach near June's base. At first, he assumes he is in the afterlife but, when a de Havilland Mosquito flies low overhead, discovers to his bewilderment that he is still alive. Peter meets June cycling back to her quarters after her night shift, and they fall in love. Conductor 71 (a French aristocrat guillotined in the Revolution) stops time to explain the situation, urging Peter to accept his death and accompany him to the Other World, but Peter demands an appeal. While Conductor 71 consults his superiors, Peter continues to live. Conductor 71 returns and informs him that he has been granted his appeal and has three days to prepare his case. He can choose a defence counsel from among all the people who have ever died, but he has difficulty picking one. Peter's visions are diagnosed by June's fascinated friend Doctor Reeves as a symptom of a brain injury—chronic adhesive arachnoiditis from a slight concussion two years earlier—and he is scheduled for surgery. Reeves is killed in a motorcycle accident while trying to find the ambulance that is to take Peter to the hospital. Reeves' death allows him to act as Peter's counsel. Reeves argues that, through no fault of his own, his client was given additional time on Earth and that, during that time, he has fallen in love and now has an earthly commitment that should take precedence over the afterlife's claim on him. The matter comes to a head—in parallel with Peter's brain surgery—before a celestial court; the camera zooms out from an amphitheatre to reveal that it is as large as a spiral galaxy. The prosecutor is American Abraham Farlan, who hates the British for making him the first casualty of the American Revolutionary War. Reeves challenges the composition of the jury, which is made up of representatives who are prejudiced against the British. In fairness, the jury is replaced by a multicultural mixture of modern Americans whose origins are as varied as those they replace. Reeves and Farlan both make comparisons with the other's nationality to support their positions. In the end, Reeves has June take the stand (Conductor 71 makes her fall asleep in the real world so she can testify) and prove that she genuinely loves Peter by telling her that the only way to save his life is to take his place, whereupon she steps onto the stairway to the Other World without hesitation and is carried away, leaving Peter behind. The stairway comes to an abrupt halt and June rushes back to Peter's open arms. As Reeves triumphantly explains, "... nothing is stronger than the law in the universe, but on Earth, nothing is stronger than love." The jury rules in Peter's favour. The Judge shows Reeves and Farlan the new lifespan granted to the defendant; Reeves calls it "very generous", and Farlan jokingly complains, then agrees to it. The two then engage in supportive banter with one another, and against the stern Chief Recorder, who protests against the breach of law. The scene then shifts to the operating room, where the surgeon declares the operation a success.

ASHES AND DIAMONDS (Andrzej Wajda, 1958)

On 8 May 1945, at the end of World War II, near a small country church, former Home Army soldiers, Maciek, Andrzej and Drewnowski, prepare to assassinate Konrad Szczuka, a political opponent and a secretary of Polish Workers' Party. The ambush fails, as the attackers later learn that they have mistakenly killed two innocents.[2] Andrzej and Maciek's superior, Major Waga, learns of the failed assassination attempt. Waga orders Andrzej and Maciek to attempt the mission for a second time. They come to the Hotel Monopol Restaurant, where a banquet in honour of the victorious war begins, but the combatants do not participate. While sitting in the bar, Maciek and Andrzej listen to the song "The Red Poppies of Monte Cassino" and reminisce over their fallen comrades. In honour of them, Maciek lights several glasses of rectified spirit on fire. Their hapless comrade Drewnowski gets drunk at the bar, where he discusses career prospects in postwar Poland with Pieniążek, a representative of the democratic press.[3] During the party, he has a flirtatious conversation with a barwoman named Krystyna and invites her to his room. Afterwards, Maciek goes to his hotel room to check his gun. Krystyna comes to his room after her shift ends. As they lay naked in bed, they realize they are in love, but Krystyna doesn't want to become attached as Maciek doesn't plan to stay in town for long. They decide to go for a walk. It begins to rain, so Krystyna and Maciek decide to find shelter in a ruined church. Krystyna notices a poem inscribed on the wall, and Maciek recites it from memory in a somber tone. The lovers say their goodbyes, with Maciek promising he's going to try to "change things" so he can stay with her. Maciek returns to the bar where he discusses his sense of duty and obligation to the cause with Andrzej. However, Andrzej is unsympathetic to his plight and says Maciek will be a deserter if he does not fulfill his obligation to assassinate Szczuka. Meanwhile, a completely drunk Drewnowski spoils the banquet, covering the other guests with foam from a fire extinguisher, and leaves the ball in shame with his intended career as a Communist functionary in ruins. After the reception, Szczuka learns that his son Marek has been arrested for joining an underground militia.[4] Maciek waits for Szczuka to leave the hotel to meet his captured son, follows him, and shoots him to death. The next morning, Maciek plans to leave Ostrowiec by train. He tells Krystyna that he was unable to "change things," leaving her heartbroken. She tells him to leave without saying another word, which he does. The hotel guests dance to a pianist and band playing Chopin's "Military" Polonaise in A Major. On the way to the train station, Maciek observes Andrzej beating Drewnowski for his newfound, opportunistic support for the underground. Maciek flees when Drewnowski calls his name. He accidentally runs into some soldiers of the Polish People's Army and draws his pistol in panic. They shoot and fatally wound him. Maciek escapes to a garbage dump, but he collapses and dies in agony.[5]

DOG DAY AFTERNOON (Sidney Lumet, 1975)

On August 22, 1972, first-time crook Sonny Wortzik, and his friends Salvatore "Sal" Naturile and Stevie attempt to rob the First Brooklyn Savings Bank. The plan immediately goes awry when Stevie loses his nerve and flees. Sonny discovers they arrived after the daily cash pickup, and find only $1,100 in cash. Sonny takes the bank's traveler's checks and burns the register in a trash can, but the smoke raises suspicion outside, and the building is surrounded by police. The two panicked robbers take the bank employees hostage. Police Detective Sergeant Eugene Moretti calls the bank and Sonny bluffs that he is prepared to kill the hostages. Sal assures Sonny that he is ready to kill if necessary. A security guard has an asthma attack and Sonny releases him as a display of good faith. Moretti convinces Sonny to step outside. Using the head teller as a shield, Sonny begins a dialogue with Moretti that culminates in his shouting "Attica! Attica!" to invoke the recent Attica Prison riot. The crowd begins cheering for Sonny. Sonny demands a vehicle to drive himself and Sal to the airport so they can board a jet. He also demands pizzas to be brought for the hostages, and for his wife to be brought to the bank. Sonny's partner, Leon Shermer, arrives and reveals that the robbery was intended to pay for Leon's sex reassignment surgery, and divulges that Sonny has children with his estranged wife, Angie. As night sets in, the bank's lights are shut off as FBI Agent Sheldon takes command of the scene. He refuses to give Sonny any more favors, but when the bank manager Mulvaney goes into diabetic shock, Sheldon lets a doctor inside. Sheldon then convinces Leon to talk to Sonny on the phone. Leon had been hospitalized at Bellevue Hospital after a suicide attempt. Leon turns down Sonny's offer to join him and Sal in their escape, and Sonny tells the police that Leon had nothing to do with the robbery. Sonny agrees to let Mulvaney leave, but the manager refuses to leave his employees. The FBI calls Sonny out of the bank to talk to his mother, who fails to persuade him to give himself up. Back inside, Sonny dictates his will to one of the hostages, acting as a secretary, leaving money from his life insurance for Angie, and for Leon to have the surgery. When the requested limousine arrives, Sonny checks for hidden weapons or booby traps, and selects Agent Murphy to drive him, Sal, and the remaining hostages to Kennedy Airport. Sonny sits in the front beside Murphy with Sal behind. Murphy repeatedly asks Sal to point his gun at the roof so Sal will not accidentally shoot him. As they wait on the airport tarmac for the plane to taxi into position, Sal releases another hostage, who gives him her rosary beads for his first plane trip. Murphy again reminds Sal to aim his gun away. Sal does, and Sheldon seizes Sonny's weapon, allowing Murphy to pull a revolver hidden in his armrest and shoot Sal in the head. Sonny is immediately arrested, and the hostages are freed. The film ends as Sonny watches Sal's body being taken from the car on a stretcher. On-screen text reveals that Sonny was sentenced to twenty years in prison, that Leon was a woman living in New York City, and that Angie and her children subsisted on welfare.

AGUIRRE, THE WRATH OF GOD (Werner Herzog, 1972)

On Christmas Day, 1560, several scores of Spanish conquistadors, and a hundred native slaves, march down from the newly conquered Inca Empire in the Andes mountains into the jungles to the east, in search of the fabled country of El Dorado. Under the command of Gonzalo Pizarro, the men, clad in half armor, pull cannons down narrow mountain paths and through dense, muddy jungle. On New Year's Eve, reaching the end of his supplies and unable to go on without more information, Pizarro orders a group of forty men to scout ahead by raft down river. If they do not return to the main party within one week with news of what lies beyond, they will be considered lost. Pizarro chooses Don Pedro de Ursúa as the commander of the expedition, Don Lope de Aguirre as his second-in-command, fat nobleman Don Fernando de Guzmán to represent the Royal House of Spain, and Brother Gaspar de Carvajal to bring the word of God. Also accompanying the expedition, against Pizarro's better judgment, are Ursúa's mistress, Doña Inés and Aguirre's teenage daughter, Flores. Traveling through rapids, one of the four rafts gets caught in an eddy, and the others are unable to help free it. That night, gunfire erupts on the trapped raft; in the morning the men on board are found dead, with three missing. Ursúa wants the bodies to be brought back to camp for proper burial. Knowing this would slow down the expedition, Aguirre suggests that Perucho fire the cannon to clean the rust from it. He fires at the raft, destroying it and throwing the bodies into the river. During the night, the remaining rafts are swept away by the rising river. Time has run out for the scouting mission, and Ursúa decides to return to Pizarro's group despite the danger from hostile Indians. Aguirre leads a mutiny against Ursúa, telling the men that untold riches await them ahead, and reminding them that Hernán Cortés won an empire in Mexico by disobeying orders. Ursúa orders Aguirre arrested, but he and a soldier loyal to him are shot. Aguirre nominates Guzmán as the new leader of the expedition and rebels against the Spanish Crown, proclaiming Guzmán the emperor of El Dorado. A farcical trial of Ursúa results in his being sentenced to death, but Guzmán surprises Aguirre by granting Ursúa clemency. Aguirre remains the true leader of the mutiny, so oppressive and terrifying that few protest his leadership. Only Inés has the courage to speak out against him. Knowing that some of the soldiers are still loyal to Ursúa, Aguirre simply ignores her. The expedition continues on a single, newly built, large raft. An indigenous couple approaching peacefully by canoe are captured by the explorers, and when the man expresses confusion when presented with a Bible, Brother Carvajal kills them for blasphemy. Guzmán dines on the low food supplies while the men starve, and has the expedition's only remaining horse pushed off the raft because it annoys him. Soon afterwards he is found dead near the raft's privy. After Guzmán's death, Aguirre proclaims himself leader. Ursúa is then taken ashore and hanged in the jungle. The group attacks an indigenous village, where several soldiers are killed by spears and arrows. The distraught Inés walks into the jungle and disappears. On the raft again, the group of slowly starving, feverish men begin disbelieving everything they see, even when shot with arrows. The group stares in disbelief at a wooden ship perched in the highest branches of a tall tree, which Aguirre orders be brought down and refurbished, but Brother Carvajal refuses. In a series of final attacks by unseen assailants, the remaining survivors including Aguirre's daughter are killed by arrows. Monkeys overrun the raft as Aguirre imagines conquering all of America and founding an incestuous dynasty to rule over it.

THE INNOCENTS (Jack Clayton, 1961)

Miss Giddens applies for her first job as a governess. The wealthy bachelor uncle who interviews her is unconcerned with her lack of experience. He values his freedom to travel and socialise and unabashedly confesses that he has "no room, mentally or emotionally" for his niece and nephew. They were orphaned and left in his care as infants, and he keeps them at Bly, his large country estate. The previous governess, Mary Jessel, died suddenly less than a year ago. All he cares about is that Miss Giddens accept full responsibility for the children, never troubling him with whatever problems may arise. At Bly, Miss Giddens is instantly taken with Flora, the niece. She also forges a friendship with Mrs. Grose, the kindly housekeeper. The boy, Miles, is away at boarding school, but soon returns to Bly after being expelled from school for being a "bad influence" on his peers. Mrs. Grose says she cannot imagine Miles misbehaving, and when Miss Giddens meets the boy herself, she too thinks his teachers must have exaggerated. He seems charming and mature - though perhaps too mature, with flirtatious flattery towards his governess. Miss Giddens soon grows disturbed by the children's occasional odd behaviours and secretiveness, and is bothered by disembodied voices and apparitions of a man and woman she witnesses in the house, whom Mrs. Grose identifies, from their descriptions, as Miss Jessel and Peter Quint, another deceased employee of the children's uncle. Mrs. Grose also reluctantly reveals that the two were in a relationship prior to their deaths. Miss Giddens concludes that the ghosts of Quint and Miss Jessel possess the bodies of the children so they can physically continue their relationship. She is determined to rescue them from this possession. One night, while left alone with Miles, Miss Giddens presses him to talk about the ghosts, and about why he was expelled from school. Initially, Miles is glib and evasive, but he eventually admits that he frightened the other boys with violence and vulgar language. Miss Giddens enjoins him to say who taught him this language and behaviour. Miles suddenly begins yelling obscene insults and laughing maniacally, and Quint's face appears in the window behind him, joining in the boy's laughter. Miles then runs outside; Miss Giddens follows, begging him to "say his name." Quint appears on a hedge nearby, but Miles does not seem to see him. He finally shouts Quint's name, and Quint waves his hand. Miles grows still and falls to the ground. Miss Giddens cradles him and assures him that he is free. She then realises that Miles is dead. Sobbing, she leans over him and kisses him on the lips.

A DAY IN THE COUNTRY (Jean Renoir, 1936)

Monsieur Dufour (André Gabriello), a shop-owner from Paris, takes his family for a day of relaxation in the country. When they stop for lunch at the roadside restaurant of Poulain (Jean Renoir), two young men there, Henri (Georges D'Arnoux) and Rodolphe (Jacques B. Brunius), take an interest in Dufour's daughter Henriette (Sylvia Bataille) and wife Madame Dufour (Jane Marken). They scheme to get the two women off alone with them. They offer to row them along the river in their skiffs, while they divert Dufour and his shop assistant and future son-in-law, Anatole (Paul Temps), by lending them some fishing poles. Though Rodolphe had arranged beforehand to take Henriette, Henri maneuvers it so that she gets into his skiff. Rodolphe then good-naturedly settles for Madame Dufour. As Henri rows, Henriette expresses her enthusiasm for the countryside. Henri suggests that she could come visit again, on her own, by train if necessary, and offers to meet her. Henriette says that her father would never permit it. Henri rows to a secluded spot on the riverbank which he refers to as his "private office". Henriette initially resists his amorous advances, but stops struggling after a moment. A rainstorm that has been threatening all afternoon arrives, but the party's return to the inn is not depicted. Title cards indicate that years have passed and that Henriette has married Anatole. One day, they end up at the place where Henri seduced Henriette. While Anatole dozes, his wife takes a walk, and encounters Henri. With tears in her eyes, she reminisces about their brief time together. Then, when Anatole wakes up, Henri hides until they leave.

SWEET SMELL OF SUCCESS (Alexander Mackendrick, 1957)

Morally bankrupt Manhattan press agent Sidney Falco is a frustrated fringe player who, of late, has been unable to gain positive publicity for his clients in media kingpin J.J. Hunsecker's influential, nationally syndicated newspaper column. Hunsecker is overly protective of his younger sister Susan, and seeks to derail her romance with up-and-coming jazz guitarist Steve Dallas.[5] In return for a failed promise, the bullying Hunsecker offers Falco the opportunity to make good by breaking the couple up. Falco is losing money and clients, and knows this crucial back-scratch could save his career. Sidney hopes to plant a rumor in a rival column that Dallas is a marijuana-smoking Communist, enough to get him fired from the jazz club where his combo plays. Hunsecker will then gain points with Susan by defending Dallas and getting him his job back, with Falco counting on an overly prideful Dallas rejecting a tainted favor. To get his dirt planted, Falco plans to blackmail a prominent columnist by threatening to expose his marital infidelity. Instead, the columnist chooses exposure over his journalistic integrity, a choice even his wife praises as his first decent act in years. Falco then bribes a second columnist with a sexual favor to be provided by a cigarette girl he has a friendly relationship with, misleading her into waiting for him in his bedroom only to arrive with the columnist—a new low, even for Falco. He flips her outrage by claiming he is doing it to help her career. The lies get printed and Dallas's jazz group is fired from the club. As planned, in Dallas and Susan's presence Hunsecker theatrically gets Dallas rehired with a phone call, but Dallas still insults and denounces Hunsecker for his malignant influence on society. Forced to choose between them, Susan breaks up with Dallas in order to protect him from her vengeful brother. In spite of this, Hunsecker is so incensed by Dallas's insults, which he twists around to characterize as attacks on his loyal, patriotic audience, that he escalates matters. Holding Falco's feet to the fire, he orders the shill to plant marijuana on Dallas and then have him arrested and roughed up by a corrupt police lieutenant, Harry Kello,[5] a move so dirty that even Falco recoils from it. To swing him round, Hunsecker dangles the offer of Falco's filling in on his column for three months while he himself takes Susan to Europe to forget about Dallas. It proves too much to resist. At the jazz club, Falco slips marijuana cigarettes into the pocket of Dallas's coat. Dallas is accosted by Kello outside the club and beaten so badly he ends up in the hospital. Falco then celebrates at a bar where, surrounded by his industry pals, he toasts to his favorite perfume, "success". The festivities are interrupted when Falco is summoned to Hunsecker's penthouse apartment, where he finds Susan in her nightgown about to jump off the balcony.[5] Falco stops her, then lectures her and calls her childish. Hunsecker arrives to find Falco and Susan in an outwardly compromising position in her bedroom, as Falco begins to suspect that Susan has set him up. Unable to talk himself out of what seems like a trap, Falco is brutally slapped around by Hunsecker. Livid, Falco reveals to Susan that her brother conspired to frame Dallas. Hunsecker then calls Kello and deems Dallas innocent and Falco guilty of planting evidence. Falco declares that Kello's beating will not stop him from making the whole story public and leaves. As he exits the building, he is caught in Times Square by the brutal cop. Susan packs a bag to leave. Stopped by her brother, she explains that she indeed had attempted suicide, having considered death preferable to living with him, and that she is leaving to be with Dallas. A distraught Hunsecker then watches from the balcony as she walks past Falco's beaten form into the coming dawn.

TOUKI BOUKI (Djibril Diop Mambéty, 1973)

Mory, a cowherd who drives a motorcycle mounted with a bull-horned skull, and Anta, a student, meet in Dakar. Alienated and tired of life in Senegal, they dream of going to Paris and come up with different schemes to raise money for the trip. Mory eventually succeeds in stealing the money, and a large amount of clothing, from the household of a wealthy homosexual while the latter is taking a shower. Anta and Mory can finally buy tickets for the ship to France. But their wealthy victim phones the police who begin to tail the duo, and when Anta and Mory board the ship in the Port of Dakar, the loudspeaker summons Mory to see the captain. Upon hearing this, Mory leaves Anta and runs away madly to find his bull-horned motorcycle, only to see that it has been ruined in a crash that nearly killed the rider who had taken it. The ship sails away with Anta but not Mory, who sits next to his hat on the ground, staring disconsolately at his wrecked motorcycle.

MOTHLIGHT (Stan Brakhage, 1963)

Mothlight is a silent "collage film" that incorporates "real world elements."[1] Brakhage produced the film without the use of a camera,[2] using what he then described as "a whole new film technique."[3] Brakhage collected moth wings, flower petals, and blades of grass, and pressed them between two strips of 16mm splicing tape.[4] The resulting assemblage was then contact-printed at a lab to allow projection in a cinema. The objects chosen were required to be thin and translucent, to permit the passage of light.[3] Brakhage reused the technique to produce his later film, The Garden of Earthly Delights (1981).[1] Mothlight has been described as boasting a "three-part musical structure."[1]

MOUCHETTE (Robert Bresson, 1967)

Mouchette, whose name means "little fly," lives in an isolated French village with her alcoholic father and bedridden, dying mother, taking care of her infant brother and doing all the housework. She is ostracized at school for her bedraggled clothes and chastised by her teacher for refusing to sing. Once, in contrast to the misery of her daily life, Mouchette goes to a fair, where a kind woman buys Mouchette a token so she can ride on the bumper cars. She and a young man bump into each other's cars as a mutual flirtation. Before she can speak to the boy after the ride, her father takes Mouchette away. Walking home from school one day, Mouchette gets lost in the woods when a rainstorm begins. Arsène, an alcoholic epileptic poacher, stumbles upon her and takes her to his hut. He fears he has killed a man with whom he had fought earlier and attempts to use Mouchette as an alibi to clear him of the blame. After she agrees to repeat the story he gives her, Mouchette tries to leave but Arsène blocks her way, chases her down, and rapes her. By early morning, Mouchette has escaped. Returning home and finding her mother's condition worsening, she attempts to comfort her, but she soon dies. On her way to get milk, a shopkeeper offers her a free coffee and croissant. The shopkeeper notices a scratch on Mouchette's chest and when Mouchette seems to deliberately break the coffee bowl, calls her a "little slut." Elderly women dressed in black are going to church. Later, when talking to the gamekeeper Mathieu and his wife about the events of the previous night in the woods, she tries to offer the story agreed with Arsène. Reluctantly, she states that she was at Arsène's house through the night because he is her lover. Finally, she is invited into the house of an elderly woman, who gives her a dress to wear at the funeral and a shroud to cover her mother. The woman speaks to her about worshiping the dead and gives Mouchette three nice dresses that will fit. On her way out, Mouchette insults her and damages her carpet. Mouchette then witnesses several hunters shooting and killing rabbits. Another rabbit is wounded and cannot hop. Mouchette then walks up a small hill and takes one of the three dresses to try it on, but a branch catches on and tears a hole through it. There is an establishing shot of a stream that returns at the very end of the film. The film cuts to Mouchette rolling down a hill with the now dirty and ragged dress wrapped around her. Mouchette quickly gets up at the sound of a tractor and waves to the man driving it. He seems too far away to see her. Oddly, she does not cry out to him to get his attention. She turns back and rolls down again out of frame and stops in-frame at the bank of the stream, near the flowers we saw earlier. The camera lingers on the flowers while she returns to the top of the hill and rolls downhill a third and final time. There is a splash at the end of the second shot. It is revealed that Mouchette has disappeared. Classical music echoes the music at the beginning and continues as the film fades to black.

GROUNDHOG DAY (Harold Ramis, 1993)

On February 1, television weatherman Phil Connors reassures his Pittsburgh viewers that an approaching blizzard will miss Western Pennsylvania. Alongside his new producer Rita Hanson and cameraman Larry, Phil travels to Punxsutawney for his annual coverage of the Groundhog Day festivities. He makes no secret of his contempt for the assignment, the small town, and the "hicks" who live there, asserting that he will soon be leaving his station for a new job. A private home in Woodstock, Illinois was used for exteriors of the Cherry Street Inn, the fictional location in which Phil awakens every morning in the film. On February 2, Phil awakens in the Cherry Street Inn to Sonny & Cher's "I Got You Babe" playing on the clock radio. He gives a half-hearted report on the groundhog Punxsutawney Phil and the festivities. Contrary to his prediction, the blizzard strikes the area, preventing all travel out of Punxsutawney, and although he desperately searches for a way to leave, he is forced to spend the night in the town. The next morning, Phil wakes once more to "I Got You Babe" and the same DJ banter on the radio in his room at the Cherry Street Inn. Phil experiences the previous day's events repeating exactly and believes he is experiencing déjà vu. He again unsuccessfully attempts to leave the town and retires to bed. When he awakes, it is again February 2. Phil gradually realizes that he is trapped in a time loop of which no one else is aware. He confides his situation to Rita, who directs him to a neurologist, who in turn directs him to a psychologist; neither can explain his experiences. Phil gets drunk with locals Gus and Ralph and then leads police on a high-speed car chase before being arrested and imprisoned. The next morning, Phil awakens in the Cherry Street Inn. Realizing that there are no consequences for his actions, Phil begins spending loops indulging in binge eating, one-night stands, robbery, and other dangerous activities, using his increasing knowledge of the day's events and the town residents to manipulate circumstances to his advantage. Eventually, he focuses on seducing Rita, using the loops to learn more about and manipulate her. No matter what steps he takes, Rita rebuffs his advances, particularly when Phil tells her he loves her; Rita asserts that he does not even know her. Phil gradually becomes depressed and desperate for a way to escape the loop. He commits suicide in a variety of ways, even kidnapping Punxsutawney Phil and driving them both off a cliff. Each time, he reawakens on February 2 to "I Got You Babe". He eventually tries to explain his situation to Rita again, using his detailed knowledge of the day to accurately predict events. Convinced, Rita spends the rest of that day's loop with Phil; she encourages him to think of the loops as a blessing instead of a curse. As they lie on the bed together at night, Phil realizes that his feelings for Rita have become sincere. He wakes alone on February 2. Phil decides to use his knowledge of the loop to change himself and others: he saves people from deadly accidents and misfortunes and learns to play the piano, sculpt ice, and speak French. Regardless of his actions, he is unable to save a homeless old man from dying of natural causes. During one iteration of the loop, Phil reports on the Groundhog Day festivities with such eloquence that other news crews stop working to listen to his speech, amazing Rita. Phil continues his day helping the people of Punxsutawney. That night, Rita witnesses Phil's expert piano-playing skills as the adoring townsfolk regale her with stories of his good deeds. Impressed by his apparent overnight transformation, Rita successfully bids for him at a charity bachelor auction. Phil carves an ice sculpture in Rita's image and tells her that no matter what happens, even if he is trapped in the loop forever, he is finally happy because he loves her. They share a kiss and retire to Phil's room. He wakes the next morning to "I Got You Babe" but finds Rita is still in bed with him and the radio banter has changed; it is now February 3. Phil tells Rita that he wants to live in Punxsutawney with her.

IT'S A WONDERFUL LIFE (Frank Capra, 1946)

On Christmas Eve 1945, in Bedford Falls, New York, George Bailey contemplates suicide. The prayers of his family and friends reach Heaven, where guardian angel second class Clarence Odbody is assigned to save George in order to earn his wings. Clarence is shown flashbacks of George's life. He watches 12-year-old George rescue his younger brother Harry from drowning, leaving George deaf in his left ear. George later prevents the pharmacist, Mr. Gower, from accidentally poisoning a customer's prescription. In 1928, George plans a world tour before college. He is reintroduced to Mary Hatch, who has been enamored with him since childhood. When his father dies suddenly, George postpones his travel to settle the family business, Bailey Brothers Building and Loan. Avaricious board member Henry Potter, who controls most of the town, seeks to dissolve it, but the board votes to keep the Building and Loan open if George runs it. George acquiesces and works alongside his uncle Billy, giving his tuition to Harry with the understanding that Harry will run the business when he graduates. Harry returns from college married and with a job offer from his father-in-law, and George resigns himself to running the Building and Loan. George and Mary rekindle their relationship and wed. They witness a run on the bank and use their honeymoon savings to keep the Building and Loan solvent. Under George, the company establishes Bailey Park, a housing development surpassing Potter's overpriced slums. Potter entices George with a $20,000/year job but, realizing that Potter's true intention is to close the Building and Loan, George rebuffs him. On Christmas Eve 1945, the town prepares a hero's welcome for Harry who, as a U.S. Navy fighter pilot, was awarded the Medal of Honor for preventing a kamikaze attack on a troop transport. Billy goes to Potter's bank to deposit $8,000 of the Building and Loan's money. He taunts Potter with a newspaper headline about Harry, then absentmindedly wraps the cash in Potter's newspaper. Potter finds and keeps the money, while Billy cannot recall how he misplaced it. With a bank examiner reviewing the company's records, George realizes scandal and criminal charges will follow. Fruitlessly retracing Billy's steps, George berates him and takes out his frustration on Mary and their children. George appeals to Potter for a loan, offering his life insurance policy as collateral. Potter scoffs that George is worth more dead than alive, refuses to help, and phones the police. George flees Potter's office, gets drunk at a bar, and prays for help. Suicidal, he goes to a nearby bridge, but before he can jump, Clarence dives into the river and George rescues him. When George wishes he had never been born, Clarence shows George a timeline in which he never existed. Bedford Falls is now Pottersville, an unsavory town occupied by sleazy entertainment venues, crime, and callous people. Mr. Gower was imprisoned for manslaughter because George was not there to stop him from poisoning the customer. George's mother does not know him. Uncle Billy was institutionalized after the Building and Loan failed. Bailey Park is a cemetery, where George discovers Harry's grave. Without George, Harry drowned as a child, and without Harry to save them, the troops aboard the transport ship were killed. George finds Mary, now a spinster, and when he grabs her and claims to be her husband she screams and runs. George flees back to the bridge and begs Clarence for his life back. The original reality is restored, and a grateful George rushes home to await his arrest. Meanwhile, Mary and Billy have rallied the townspeople, who come into the Bailey home and donate more than enough to cover the missing money. Harry arrives and toasts George as "the richest man in town". Among the donations George finds a copy of The Adventures of Tom Sawyer, a gift from Clarence and inscribed, "Remember, no man is a failure who has friends. Thanks for the wings!" When a bell on the Christmas tree rings, George's youngest daughter, Zuzu, explains that "every time a bell rings, an angel gets his wings." George looks upward smiling and says, "Atta boy, Clarence!

TASTE OF CHERRY (Abbas Kiarostami, 1997)

Mr. Badii, a middle-aged man, drives through Tehran looking for someone to do a job for him, for which he offers a large amount of money. During his drives with prospective candidates, Badii reveals that he plans to kill himself and has already dug the grave. He tells the people he is soliciting to go to the spot he has chosen the next morning, and either help him up, if he has chosen to live, or to bury him, if he has chosen to die. He does not discuss why he wants to commit suicide. His first recruit is a young, shy Kurdish soldier, who refuses to do the job and flees from Badii's car. His second recruit is an Afghan seminarist, who also declines because he has religious objections to suicide. The third is Mr. Bagheri, an Azeri taxidermist. He is willing to help Badii because he needs the money for his sick child. He tries to convince Badii not to commit suicide, and reveals that he too wanted to commit suicide in 1960 but chose to live when, after failing his attempt, he tasted mulberries which dropped from a tree, and reveals that he then went home with the mulberries, and gave it to his wife, which she enjoyed. He continues to discuss what he perceives to be the beauty of life, including sunrises and the moon and stars. Bagheri promises to throw dirt on Badii if he finds him dead in the morning. Badii drops him back at his workplace, but suddenly runs back to meet him, requesting that Bagheri confirm if he's actually dead by throwing some stones at him and jolting him awake, in case he is asleep. That night, Badii lies in his grave while a thunderstorm begins. After a long blackout, the film ends by breaking the fourth wall with camcorder footage of Kiarostami and the film crew filming Taste of Cherry, leaving Badii's choice unknown.

OPENING NIGHT (John Cassavetes, 1977)

Myrtle Gordon is a famous but troubled middle-aged actress performing out-of-town previews in New Haven, Connecticut of a new play called The Second Woman before its Broadway run. While leaving the theatre after a performance, Myrtle signs autographs and encounters an obsessive teenaged fan, Nancy, who runs after Myrtle into the street and is struck by a car. Myrtle is unsettled by the incident, and even goes to the girl's shiva, though her family greets her coolly. Myrtle struggles to connect with the character she is playing in The Second Woman, finding her to have no motivation beyond her age. Over the course of numerous performances, Myrtle departs from the play's script in myriad ways, including changing her lines, throwing props around the set, breaking the fourth wall, and collapsing on stage. This frustrates others involved with the play. The writer, Sarah Goode, attempts to force Myrtle into facing her age. Myrtle admits to her that she has been seeing the apparition of Nancy—the teenager killed in the car accident—which Myrtle believes is a projection of her youth. Myrtle's state of mind continues to deteriorate, and she begins to drink heavily. She imagines Nancy attacking her, and later she throws herself against the walls of Sarah's hotel room, breaking her sunglasses and slashing her face. The incident disturbs Sarah, who expresses her wish to have Myrtle replaced in the play, feeling she is psychologically unable to perform. After storming out of a rehearsal, Myrtle visits Sarah's spiritual medium for help and has another violent encounter with her vision of Nancy, this time fighting back and "killing" Nancy's ghost. Myrtle attempts to seduce Maurice Aarons—her leading man and a former lover—but he refuses. Myrtle fails to show up on time for her call on opening night. When she finally arrives, Myrtle is so drunk that she can barely stand. With the audience growing restless, director Manny Victor demands the show go on. Myrtle struggles through the show's opening scenes, collapsing before her entrance and again on stage. As the show continues, Myrtle finds something of a rhythm. By the end, she and Maurice go off script and improvise the play's final act, to the producers' chagrin and the audience's rapturous applause.Myrtle Gordon is a famous but troubled middle-aged actress performing out-of-town previews in New Haven, Connecticut of a new play called The Second Woman before its Broadway run. While leaving the theatre after a performance, Myrtle signs autographs and encounters an obsessive teenaged fan, Nancy, who runs after Myrtle into the street and is struck by a car. Myrtle is unsettled by the incident, and even goes to the girl's shiva, though her family greets her coolly. Myrtle struggles to connect with the character she is playing in The Second Woman, finding her to have no motivation beyond her age. Over the course of numerous performances, Myrtle departs from the play's script in myriad ways, including changing her lines, throwing props around the set, breaking the fourth wall, and collapsing on stage. This frustrates others involved with the play. The writer, Sarah Goode, attempts to force Myrtle into facing her age. Myrtle admits to her that she has been seeing the apparition of Nancy—the teenager killed in the car accident—which Myrtle believes is a projection of her youth. Myrtle's state of mind continues to deteriorate, and she begins to drink heavily. She imagines Nancy attacking her, and later she throws herself against the walls of Sarah's hotel room, breaking her sunglasses and slashing her face. The incident disturbs Sarah, who expresses her wish to have Myrtle replaced in the play, feeling she is psychologically unable to perform. After storming out of a rehearsal, Myrtle visits Sarah's spiritual medium for help and has another violent encounter with her vision of Nancy, this time fighting back and "killing" Nancy's ghost. Myrtle attempts to seduce Maurice Aarons—her leading man and a former lover—but he refuses. Myrtle fails to show up on time for her call on opening night. When she finally arrives, Myrtle is so drunk that she can barely stand. With the audience growing restless, director Manny Victor demands the show go on. Myrtle struggles through the show's opening scenes, collapsing before her entrance and again on stage. As the show continues, Myrtle finds something of a rhythm. By the end, she and Maurice go off script and improvise the play's final act, to the producers' chagrin and the audience's rapturous applause.

A SEPARATION (Asghar Farhadi, 2011)

Nader, Simin, and their 11-year-old daughter, Termeh, are a secular, middle-class family living in a flat in Tehran. Simin wants the whole family to leave Iran and has prepared the visas, but Nader wishes to stay to care for his father, who lives with them, and has Alzheimer's disease. Simin therefore files for divorce, but the family court considers the grounds to be insufficient and rejects the application. Simin moves back to her parents' home and Termeh stays with her father. Nader hires Razieh, a deeply religious woman from a poor and distant suburb, to take care of his father during the day. She comes each day with her young daughter, Somayeh. She soon finds that she cannot cope, in particular because the old man has become incontinent. One day, when Razieh and Somayeh are busy, he slips out and wanders in the street. Razieh hastens out and dodges through the traffic to get to him. The next day, Nader and Termeh come home early and discover the old man lying unconscious on the floor in his bedroom, tied to the bed. Razieh and Somayeh are out. When they return, Razieh says she had some urgent personal business; Nader accuses her of neglecting his father and stealing some money (which Simin had in fact used to pay some movers). When Razieh refuses to leave until he pays her, he pushes her out of the flat. She apparently falls down some steps. Nader and Simin later learn that Razieh has suffered a miscarriage. If Nader knew of Razieh's pregnancy and caused the miscarriage, he could be guilty of murder. There is now a series of claims and counter-claims before a criminal judge: on one side, Nader, with Simin and Termeh; on the other, Razieh and her husband, Hodjat. He is a hot-tempered man, embittered and humiliated by the loss of his long-time job as a cobbler, and harassed by creditors. More than once, he attempts to assault Nader. Razieh says that Nader knew of her pregnancy because he heard a conversation in the flat between her and Termeh's tutor, in which the tutor recommended a doctor to her. Nader denies this, and the tutor gives evidence in his support. Termeh finds reasons to believe this is not true, and Nader at last admits to her that he has lied for her sake and his father's: he cannot go to prison. The tutor withdraws her evidence. To protect her father, Termeh tells the judge that he did not know of the pregnancy until she told him. Nader claims that when he pushed Razieh out of the flat, she could not have fallen down the steps, but would have been protected by the railing. Razieh confesses to Simin that when she went out to bring back the old man, she was hit by a car and was in pain that night; this was the day before Nader pushed her, and she had gone out that day to see a doctor. Hodjat is violent, and Simin fears for Termeh's safety. Simin persuades Nader to make a payment to Hodjat, but Nader first asks Razieh to swear on the Qur'an that he is the cause of her miscarriage. She cannot do so. Hodjat cannot force her, and begins hitting himself in a rage. Later, at the family court, Nader and Simin are granted a divorce. As the film ends, they wait separately outside the court while Termeh tells the judge which parent she chooses to live with.

HEAT (Michael Mann, 1995)

Neil McCauley is a professional thief based in Los Angeles. He and his crew - right hand man Chris Shiherlis, enforcer Michael Cheritto, driver Gilbert Trejo, and newly hired hand Waingro - rob $1.6 million in bearer bonds from an armored car. During the heist, Waingro kills a guard without provocation. McCauley kills a second guard who attempts to pull out his concealed weapon, and Cheritto kills the third guard so as to not leave any witnesses. Later, McCauley prepares to kill Waingro, but he escapes. LAPD Lieutenant Vincent Hanna and his team investigate the robbery. Hanna, a dedicated lawman and former Marine, has a strained relationship with his third wife Justine, and struggles to connect with his stepdaughter, Lauren. McCauley follows a code: "allow nothing to be in your life that you cannot walk out on in 30 seconds flat if you spot the heat around the corner." While at a restaurant, McCauley meets Eady, a young graphic designer with whom he begins a relationship. McCauley's fence, Nate, suggests he sell the stolen bonds back to their original owner, money launderer Roger Van Zant. Van Zant pretends to agree but instead arranges an ambush. Anticipating a trap, McCauley and his crew counter-ambush, kill the hitmen, and vow to kill Van Zant. Waingro murders a prostitute; Hanna's team investigates, discovering evidence that links it to the murder of other prostitutes, victims of a serial killer. An informant of the LAPD connects Cheritto to the robbery, and Hanna's team begins monitoring him, leading to the rest of the crew and their next target, a precious metals depository. Hanna's team stakes out the depository, but when a careless officer makes a noise, McCauley has his crew walk off the job. McCauley's crew agree to one last bank robbery worth $12.2 million. Hanna tracks McCauley and pulls him over on the 105 Freeway, inviting him to coffee. They discuss their dedication to their respective jobs and the limitations of their personal lives; Hanna describes his failing marriage and McCauley confides that he is similarly isolated. Though they admit their respect for one another, both acknowledge that they will kill the other if necessary. Waingro makes a deal with Van Zant to help eliminate McCauley's crew. Trejo quits the bank robbery at the last moment, claiming the LAPD is following him too closely. McCauley recruits an old colleague, Don Breedan, to take Trejo's place as the getaway driver, and the crew carries out the heist. Acting on a tip from Van Zant's bodyguard, the LAPD intercepts the crew as they leave the bank, resulting in a massive shootout where Breedan and several officers are killed. McCauley manages to escape with a wounded Shiherlis. Cheritto attempts to flee, but is shot dead by Hanna. After leaving Shiherlis with Nate, McCauley arrives at Trejo's house to find him mortally wounded and his wife killed. Trejo reveals Waingro and Van Zant's involvement before asking McCauley to kill him. McCauley breaks into Van Zant's mansion and shoots him dead. Upon learning of McCauley's connection to Waingro and discovering that Waingro is hiding at a hotel, Hanna's unit decides to use him as bait to lure McCauley. As McCauley prepares to flee the country, Eady discovers his criminal identity, but agrees to go with him. Before escaping, Shiherlis attempts to reconcile with his wife Charlene, who has been forced by the LAPD to bring in her husband. He encounters her at her hotel, she warns him away with a hand gesture, and he escapes. Having separated from Justine, Hanna finds Lauren has attempted suicide in his own hotel room and rushes her to the hospital; he reconciles with Justine after they learn that Lauren has survived. McCauley drives to the airport with Eady, but he learns Waingro's location and abandons his usual caution to seek revenge. McCauley infiltrates the hotel, pulls the fire alarm, bursts into Waingro's room and kills him. As McCauley returns to Eady, he is spotted by Hanna. McCauley abandons Eady, fleeing onto the tarmac at the Los Angeles International Airport, pursued by Hanna. The two stalk each other, and Hanna shoots McCauley in the chest. Hanna takes McCauley's hand as McCauley dies of his wounds.

SCARLET STREET (Fritz Lang, 1945)

New York, 1934 - Christopher "Chris" Cross, a meek amateur painter and cashier for a clothing retailer, is fêted by his employer for 25 years of service. After presenting Chris with a gold watch and kind words, company head J.J. Hogarth leaves the party and gets into a car with a beautiful blonde. Chris muses to a colleague about his desire to be loved by a young woman like that. Walking home through Greenwich Village, Chris sees a young woman, Katherine "Kitty" March, being attacked, and knocks her assailant unconscious with his umbrella. After Chris dashes off to summon a policeman, the assailant, who is actually Kitty's boyfriend Johnny, flees. Chris walks Kitty to her apartment. His wistful remarks about art suggest to her that Chris must be a wealthy painter. Enamored of Kitty and thinking she feels affection for him, Chris tells her about his loveless marriage. His shrewish wife Adele idolizes her previous husband, a policeman believed drowned while trying to rescue a suicidal woman. Needing funds for a shady business deal, Johnny believes that Kitty should play on Chris's naivete and feign romantic interest in the supposed rich artist to swindle money from him. Kitty persuades Chris to rent her an apartment, suggesting that he could use it as his art studio. To finance the apartment, Chris steals $500 in insurance bonds from his wife and later $1,000 cash from his employer. Unknown to Chris, Johnny tries selling some of his paintings, leaving them with a street vendor who thinks them worth no more than $25. The paintings attract the interest of art critic Damon Janeway, who declares the work as exceptional. After Johnny persuades Kitty to pretend that she painted them, she charms Janeway with Chris's own views about art. Captivated by the paintings and by Kitty, Janeway promises to represent her. However, Adele sees her husband's paintings, signed "Katherine March", in the window of a commercial art gallery and accuses Chris of copying March's work. Chris confronts Kitty, who claims that she had sold them because she needed the money. Delighted that his creations are appreciated, he lets her become the public face of his art. She becomes a huge commercial success, although Chris never receives any of the money. Adele's supposedly dead first husband Higgins appears at Chris's office to extort money from him. Higgins did not drown but disappeared after stealing $2,700 from the purse of the woman whom he had tried to save. Already suspected of taking bribes from speakeasies, he faked his death to escape his crimes and his wife. Chris steals another $200 from the safe at work for Higgins. Chris plots for Adele to see Higgins, hoping that his marriage will be invalidated when Adele realizes that Higgins is still alive. Chris goes to see Kitty, believing that he is now free and that she will marry him. He finds Johnny and Kitty in an embrace, confirming his suspicions that they are romantically involved. However, Chris asks Kitty to marry him, but she spurns him for being old and ugly and laughs in his face. Enraged, he stabs her to death with an ice pick. The police visit Chris's office. Higgins has told them that Chris embezzled money from Hogarth, who refuses to press charges, but fires Chris. Johnny is arrested for Kitty's murder. At the trial, Johnny's past works against him. Chris denies painting the pictures, claiming to be an untalented artist. Several witnesses confirm Chris's testimony and attest to Johnny's misdeeds and bad character. Johnny is convicted and put to death for Kitty's murder, Chris goes unpunished and Kitty is erroneously immortalized as a great artist. Haunted by the murder, Chris attempts to hang himself on the night of Johnny's execution, but is rescued. Five years later, Chris is homeless and destitute, with no way of claiming credit for his own paintings. He witnesses his portrait of Kitty sell for $10,000. Tormented by thoughts of Kitty and Johnny loving each other eternally, Chris wanders New York, constantly hearing their voices in his mind.

AN AFFAIR TO REMEMBER (Leo McCarey, 1957)

Nickie Ferrante, a well-known playboy, meets Terry McKay aboard the transatlantic ocean liner SS Constitution en route from Europe to New York. Each is romantically involved with someone else. After a series of meetings aboard the ship, they establish a friendship. When Terry joins Nickie on a brief visit to his grandmother Janou while the ship is anchored near her home at Villefranche-sur-Mer on the Mediterranean coast, she sees Nickie with new eyes and their feelings become deeper. During their visit, Janou tells Terry that Nickie is a talented painter but destroys most of his paintings because they don't meet his standards. As the ship returns to New York City, they agree to reunite at the top of the Empire State Building in six months' time if they have succeeded in ending their relationships and starting new careers. On the day of their rendezvous, Terry, hurrying to reach the Empire State Building, is struck down by a car while crossing a street. Gravely injured, she is rushed to the hospital. Meanwhile, Nickie, waiting for her at the observation deck at the top of the building, is unaware of the accident and, after many hours, leaves at midnight, believing that she has rejected him. After the accident, Terry, now unable to walk, refuses to contact Nickie because of her disability. Instead, she finds work as a music teacher. Nickie has pursued his painting and has his work displayed by Courbet, an art gallery owner. Six months after the accident, Terry sees Nickie with his former fiancée at the ballet. Nickie does not notice her condition because she is seated, and they both say hello. Nickie learns Terry's address and on Christmas Eve pays her a surprise visit. Although he tries to coax her to explain her actions, Terry dodges the subject, never leaving the couch on which she lies. He gives Terry a shawl that Janou, who has died, left for her. As he is leaving, Nickie mentions a painting on which he had been working when they first met, and that it was just given away to a woman who liked it but had no money. He is about to say that the woman was in a wheelchair when he pauses, suddenly suspecting why Terry has been lying still on the couch. He walks into her bedroom and sees the painting hanging on the wall, realizing that she was the woman in the wheelchair. The film ends with the two in a tight embrace as Terry says, "If you can paint, I can walk. Anything can happen, don't you think?"

NIGHT AND FOG (Alain Resnais, 1955)

Night and Fog is a documentary that alternates between past and present, using both black-and-white and colour footage. The first part of Night and Fog shows remnants of Auschwitz while the narrator Michel Bouquet describes the rise of Nazi ideology. The film continues with comparisons of the life of the Schutzstaffel to the starving prisoners in the camps. Bouquet shows sadism inflicted upon the doomed inmates, including scientific and medical experiments, executions, and rape. The next section is shown completely in black-and-white, and depicts images of gas chambers and piles of bodies. The final topic of the film depicts the liberation of the country, the discovery of the horror of the camps, and the questioning of who was responsible for them.

THE DEAD (John Huston, 1987)

On January 6, 1904, spinster sisters Kate and Julia Morkan and their unmarried niece, Mary Jane, host their annual Epiphany dinner party at their townhouse in Dublin. Horse-drawn carriages arrive with guests on the snowy night. Three of Mary Jane's music students, Miss O'Callaghan, Miss Furlong, and Miss Higgins, enter, accompanied by the young bachelors Joseph Kerrigan and Raymond Bergin, who Miss Furlong formally introduces to Kate and her frail older sister, Julia. Dan Brown, the only Protestant invited to the party, arrives next, followed by Kate's favorite nephew, Gabriel Conroy, and his wife Gretta. Kate is worried that Freddy Malins will show up drunk, and when he does, Gabriel promptly escorts the man to the restroom to sober him up. After a few more drinks with Mr. Brown, Freddy goes to talk to his mother, who lives in Scotland with her daughter, and Mrs. Malins berates him for failing to meet her for tea earlier. The guests dance, Mary Jane performs a virtuosic piece on the piano, and a guest named Mr. Grace recites a poem he calls "Broken Vows", which is a lament of lost love, during which Gretta's eyes grow misty. When the dancing restarts, Kate pairs Gabriel with Molly Ivors, an Irish nationalist colleague of his. She chides Gabriel for writing for an English newspaper and not learning Irish, and in response, he declares he is sick of Ireland. While Gretta is attempting to persuade Gabriel that they should go on a summer trip to the Aran Islands that Molly mentioned, Kate announces that Julia is going to sing "Arrayed for the Bridal", an operatic piece from her "concert days". Despite her warbling voice, Freddy drunkenly gushes over the performance, and Kate complains about the Pope ending her sister's singing career in the church choir when he replaced the women with boys. When it is time to eat, Molly leaves the party to attend a union meeting. During the sumptuous feast, conversation topics range from opera to morality. Freddy reliably utters the wrong things, but despite his nerves, Gabriel gives a rousing speech praising the wonderful Irish hospitality shown by Kate, Julia and Mary Jane. As the guests are leaving, Mrs. Malins asks Gabriel to look after Freddy when she returns to Scotland, and Gabriel awakens Mr. Brown and puts him in a carriage with the Malins. When almost everyone is gone, Bartell D'Arcy, a "celebrated tenor" who had not sung anything all evening, sings "The Lass of Aughrim" to Miss O'Callaghan, and Gabriel watches Gretta as she listens transfixed from the stairs. Her pensiveness continues in the carriage on the way to the hotel where she and Gabriel are staying the night, and she dismisses Gabriel's attempts to cheer her. In their hotel room, Gabriel asks Gretta what she is thinking, and she explains that when she was young and lived with her grandmother in Galway, a boy she knew named Michael Furey used to sing "The Lass of Aughrim". She says she feels responsible for his death at age seventeen as, on the night before she returned to the convent in Dublin where she went to school, Michael left his sick bed and stood outside her window in the cold and rain to say goodbye, and he died a week later. Gretta cries herself to sleep, and Gabriel thinks that he has never felt love like the love Michael must have felt for Gretta and that it is better to die young and passionate than to wither and fade away like Julia, and presumably he will. Looking out the window, he imagines the snow falling all over Ireland, "upon all the living and the dead."

DOUBLE INDEMNITY (Billy Wilder, 1944)

On July 16, 1938, insurance salesman Walter Neff returns to his office in Downtown Los Angeles with a gunshot wound on his shoulder. He records a confession on a dictaphone for his friend and colleague, claims adjuster Barton Keyes. A flashback ensues. A year earlier, Walter meets the alluring Phyllis Dietrichson during a house call to remind her husband to renew his automobile insurance policy. They flirt, until Phyllis asks about buying an accident insurance policy for her husband—without his knowledge. Walter deduces Phyllis is contemplating murder and, wanting no part of it, he picks up his hat and quickly leaves. Later, Phyllis shows up at Walter's apartment and uses the excuse of the latter forgetting his hat to seduce him to murder her husband. The plan is to trick Dietrichson into signing what he thinks is a renewal. The policy has a double indemnity clause that pays double for an accidental death due to rare circumstances. Later, Phyllis drives her husband to the train station to attend his college reunion. Walter hides in the back seat, kills him and boards the train posing as Mr. Dietrichson. After the train gets underway, Walter goes to the outdoor platform at the back, ostensibly to smoke. He jumps off at a prearranged spot to meet Phyllis and drag Dietrichson's body onto the tracks. Norton, the company's president, believes the death was suicide, but Keyes dismisses this theory. Soon, however, he begins to have doubts about the claim's legitimacy. Keyes tells Walter his theory while Phyllis hides behind the door: that she had an accomplice murder Dietrichson for the insurance money. However, he has no proof. The victim's daughter, Lola, tells Walter she is convinced that her stepmother Phyllis is behind her father's death. Lola's mother also died under suspicious circumstances, and Phyllis was her nurse. Realizing Phyllis has killed before, Walter begins seeing Lola to keep her from going to the police with her suspicions, and later through guilt and to protect her from her stepmother. Walter fears Phyllis will murder Lola over her suspicions and because Dietrichson had changed his will in Lola's favor, Phyllis would inherit nothing. Keyes finds a witness who says the man on the train was younger than the dead man. Walter warns Phyllis that pursuing the insurance claim in court risks exposing the murder. He tries to convince her to lie low and let him try to convince Norton to pay out the claim. Lola tells Walter she has discovered that her boyfriend, the hotheaded Nino Zachette, has been seeing Phyllis behind her back. Walter confronts Phyllis and tells her that he knows about her and Zachette. He guesses she is planning for Zachette to kill Lola and him, but tells her that he intends to kill her and frame Zachette. Phyllis shoots Walter in the shoulder, but finds herself unable to finish him off, realizing that she cares for someone else for the first time in her life. Walter does not believe Phyllis and kills her. He waits for Zachette and advises him not to enter the house. He convinces him to call Lola. Walter drives to the office and turns on the dictaphone, returning to the start of the film. Keyes arrives unnoticed and hears the truth. Walter tells him he is fleeing to Mexico, but collapses. Keyes lights a cigarette for Walter, while waiting for the police and an ambulance.

ALL THE PRESIDENT'S MEN (Alan J. Pakula, 1976)

On June 17, 1972, security guard Frank Wills at the Watergate complex finds a door's bolt taped over to prevent it from locking. He calls the police, who find and arrest five burglars in the Democratic National Committee headquarters within the complex. The next morning, The Washington Post assigns new reporter Bob Woodward to the local courthouse to cover the story, which is considered of minor importance. Woodward learns that the five men—James W. McCord Jr. and four Cuban-Americans from Miami—possessed electronic bugging equipment and are represented by a high-priced "country club" attorney. At the arraignment, McCord identifies himself in court as having recently left the Central Intelligence Agency (CIA), and the others are also revealed to have CIA ties. Woodward connects the burglars to E. Howard Hunt, an employee of President Richard Nixon's White House counsel Charles Colson, and formerly of the CIA. Carl Bernstein, another Post reporter, is assigned to cover the Watergate story with Woodward. The two young men are reluctant partners but work well together. Executive editor Benjamin Bradlee believes that their work lacks reliable sources and is not worthy of the Post's front page, but he encourages further investigation. Woodward contacts a senior government official, an anonymous source whom he has used before and refers to as "Deep Throat." Communicating secretly, using a flag placed in a balcony flowerpot to signal meetings, they meet at night in an underground parking garage. Deep Throat speaks vaguely and with metaphors, avoiding substantial facts about the Watergate break-in, but promises to keep Woodward on the right path to the truth, advising Woodward to "follow the money." Woodward and Bernstein connect the five burglars to corrupt activities involving campaign contributions to Nixon's Committee to Re-elect the President (CRP or CREEP). This includes a check for $25,000 paid by Kenneth H. Dahlberg, whom Miami authorities identified when investigating the Miami-based burglars. However, Bradlee and others at the Post still doubt the investigation and its dependence on sources such as Deep Throat, wondering why the Nixon administration should break the law when the president is almost certain to defeat his opponent, Democratic nominee George McGovern. Through former CREEP treasurer Hugh W. Sloan, Jr., Woodward and Bernstein connect a slush fund of hundreds of thousands of dollars to White House chief of staff H. R. Haldeman—"the second most important man in this country"—and to former attorney general John N. Mitchell, now head of CREEP. They learn that CREEP was financing a "rat****ing" campaign to sabotage Democratic presidential candidates a year before the Watergate burglary, when Nixon was lagging Edmund Muskie in the polls. While Bradlee's demand for thoroughness compels the reporters to obtain other sources to confirm the Haldeman connection, the White House issues a non-denial denial of the Post's above-the-fold story. Bradlee continues to encourage investigation. Woodward again meets secretly with Deep Throat and demands that he be less evasive. Very reluctantly, Deep Throat reveals that Haldeman masterminded the Watergate break-in and cover-up. He also states that the cover-up was not just intended to camouflage the CREEP involvement but also to hide "covert operations" involving "the entire U.S. intelligence community," including the CIA and FBI. He warns Woodward and Bernstein that their lives, and those of others, are in danger. When the two relay this information to Bradlee and tell him of the depth of the conspiracy, Bradlee realizes that a constitutional crisis is coming, but tells them to move forward with the story. On January 20, 1973, Bernstein and Woodward type the full story, while a television in the newsroom shows Nixon taking the oath of office for his second term as president. A montage of Watergate-related teletype headlines from the following years is shown, ending with the report of Nixon's resignation and the inauguration of Gerald Ford on August 9, 1974.

PORT OF SHADOWS (Marcel Carné, 1938)

On a foggy night, Jean (Jean Gabin), an army deserter, catches a ride to the port city of Le Havre. Hoping to start over, Jean finds himself in a lonely bar at the far edge of town. However, while getting a good meal and civilian clothes, Jean meets Nelly (Michèle Morgan), a 17-year-old who has run away from her godfather, Zabel, with whom she lives. Jean and Nelly spend time together over the following days, but they are often interrupted by Zabel, who is also in love with her, and by Lucien, a gangster who is looking for Nelly's ex-boyfriend, Maurice, who has recently gone missing. Jean resents the intrusions of Lucien and twice humiliates him by slapping him. When Nelly finds out that her godfather killed Maurice out of jealousy, she uses the information to blackmail him and prevent him from telling the police that Jean is a deserter. Though the two are in love, Jean plans to leave on a ship for Venezuela. At the last minute Jean leaves the ship to say goodbye to Nelly; he saves her from the hands of Zabel, whom he kills, but when they go out on to the street he is shot in the back by Lucien and dies in her arms.

VAMPYR (Carl Theodor Dreyer, 1932)

On a late evening, Allan Gray arrives at an inn close to the village of Courtempierre and he rents a room to sleep. Gray is awakened suddenly by an old man, who enters the room and leaves a square packet on Gray's table; "To be opened upon my death" is written on the wrapping paper. Gray takes the package and walks outside. Shadows guide him to an old castle, where he sees the shadows dancing and wandering on their own. Gray also sees an elderly woman (later identified as Marguerite Chopin) and encounters another old man (later identified as the village doctor). Gray leaves the castle and walks to a manor. Looking through one of the windows, Gray sees the lord of the manor, the same man who gave him the package earlier. The man is suddenly murdered by gunshot. Gray is let into the house by servants, who rush to the aid of the fallen man but it is too late to save him. The servants ask Gray to stay the night. Gisèle, the younger daughter of the now deceased lord of the manor, takes Gray to the library and tells him that her sister, Léone, is gravely ill. Just then they see Léone walking outside. They follow her, and find her unconscious on the ground with fresh bite wounds. They have her carried inside. Gray remembers the parcel and opens it. Inside is a book about horrific demons called vampyrs, who can force humans into submission. By reading the book, Gray realizes that Léone is the victim of a vampyr. The village doctor visits Léone at the manor, and Gray recognizes him as the old man he saw in the castle. The doctor tells Gray that a blood transfusion is needed and Gray agrees to donate his blood to save Léone. Exhausted from blood loss, Gray falls asleep. Meanwhile, the oldest of the servants of the manor also reads the book and learns that a vampyr can be defeated by driving an iron bar through its heart. Gray wakes up sensing danger and rushes to Léone's bedside, where he surprises the doctor as he is attempting to poison the girl. The doctor flees the manor, and Gray finds that Gisèle is gone. Gray follows the doctor back to the castle, but before reaching it he has an out-of-body experience and sees himself being dead and buried by Marguerite Chopin and the doctor. After he returns to his own body, he sees the old servant heading to Marguerite Chopin's grave. They open the grave and find the old woman perfectly preserved. They hammer a large metal bar through her heart, killing her. The curse of the vampyr is lifted and Léone suddenly recovers. The ghost of the lord of the manor appears to the doctor, chasing him away from his house and killing the soldier who was helping him. Gray rescues Gisèle, who was held tied up. The doctor hides in an old mill, but finds himself locked in a chamber where flour sacks are filled. The old servant arrives and activates the mill's machinery, filling the chamber with flour and suffocating the doctor. Gisèle and Gray cross a foggy river by boat and find themselves in a bright clearing.

RUSSIAN ARK (Aleksandr Sokurov, 2002)

On a winter's day, a small party of men and women arrive by horse-drawn carriage to a minor, side entrance of the Winter Palace, dressed in the style of the early 19th century to attend a ball hosted by the Emperor Alexander I. The narrator (whose point of view is always in first-person) meets another spectral but visible outsider, "the European", and follows him through numerous rooms of the palace. "The European", a 19th-century French diplomat who appears to be the Marquis de Custine, has nothing but contempt for Russians; he tells the narrator that they are unable to create or appreciate beauty as Europeans do, as demonstrated by the European treasures around him. Each room manifests a different period of Russian history, although the periods are not in chronological order. Featured are Peter the Great harassing and striking one of his generals; a spectacular presentation of operas and plays in the era of Catherine the Great; an imperial audience in which Tsar Nicholas I is offered a formal apology by the Shah of Iran, represented by his grandson Khosrow Mirza, for the death of ambassador Alexander Griboyedov in 1829; the idyllic family life of Tsar Nicholas II's children; the ceremonial changing of the various regiments of the Imperial Guard; people touring the palace in the present; the museum's director whispering the need to make repairs during the rule of Joseph Stalin; and a desperate Leningrader making his own coffin during the 900-day siege of the city during World War II. A grand ball follows, held in the Nicholas Hall, with many of the participants in spectacular period costume and a full orchestra conducted by Valery Gergiev featuring music by Mikhail Glinka, then a long final exit with a crowd down the grand staircase. The European tells the narrator that he belongs here, in the world of 1913 where everything is still beautiful and elegant, and does not want to go any further. The narrator then walks backwards out the hallway and sees many people from different time periods exiting the building together. As he watches them, the narrator quietly departs the procession, leaves the building through a side door and looks out upon the River Neva.

THE GREAT DICTATOR (Charles Chaplin, 1940)

On the Western Front in 1918, a Jewish soldier fighting for the Central Powers nation of Tomainia[8] valiantly saves the life of a wounded pilot, Commander Schultz, who carries valuable documents that could secure a Tomainian victory. However, after running out of fuel, their plane crashes into a tree and the Private subsequently suffers memory loss. Upon being rescued, Schultz is informed that Tomainia has officially surrendered to the Allied Forces, while the Private is carried off to a hospital. Chaplin as Adenoid Hynkel Twenty years later, still suffering from amnesia, the Private returns to his previous profession as a barber in a ghetto. The ghetto is now governed by Schultz who has been promoted in the Tomainian regime, which transformed into a fascist dictatorship under the ruthless Adenoid Hynkel. The Barber falls in love with a neighbor, Hannah, and together they try to resist persecution by military forces. The stormtroopers capture the Barber and are about to hang him, but Schultz recognizes him and restrains them. By recognizing him, and reminding him of World War I, Schultz helps the Barber regain his memory. Meanwhile, Hynkel tries to finance his ever-growing military forces by borrowing money from a Jewish banker called Hermann Epstein, leading to a temporary ease on the restrictions on the ghetto. However, ultimately the banker refuses to lend him the money. Furious, Hynkel orders a purge of the Jews. Schultz protests against this inhumane policy and is sent to a concentration camp. He escapes and hides in the ghetto with the Barber. Schultz tries to persuade the Jewish family to assassinate Hynkel in a suicide attack, but they are dissuaded by Hannah. Troops search the ghetto, arrest Schultz and the Barber, and send both to a concentration camp. Hannah and her family flee to freedom at a vineyard in the neighboring country of Osterlich. Hynkel has a dispute with the dictator of the nation of Bacteria, Benzino Napaloni, over which country should invade Osterlich. The two dictators argue over a treaty to govern the invasion, while dining together at an elaborate buffet, which happens to provide a jar of English mustard. The quarrel becomes heated and descends into a food fight, which is only resolved when both men eat the hot mustard and are shocked into cooperating. After signing the treaty with Napaloni, Hynkel orders the invasion of Osterlich. Hannah and her family are trapped by the invading force and beaten by a squad of arriving soldiers. Chaplin as Adenoid Hynkel (right) with Jack Oakie as Benzino Napaloni (left) Escaping from the camp in stolen uniforms, Schultz and the Barber, dressed as Hynkel, arrive at the Osterlich frontier, where a victory parade crowd is waiting to be addressed by Hynkel. The real Hynkel is mistaken for the Barber while out duck hunting in civilian clothes and is knocked out and taken to the camp. Schultz tells the Barber to go to the platform and impersonate Hynkel, as the only way to save their lives once they reach Osterlich's capital. The Barber has never given a public speech in his life, but he has no other choice. He announces that he (as Hynkel) has had a change of heart, he makes an impassioned speech for brotherhood and goodwill, encouraging soldiers to fight for liberty, and unite the people in the name of democracy. He then addresses a message of hope to Hannah: "Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow, into the light of hope, into the future, the glorious future that belongs to you, to me, and to all of us." Hannah hears the Barber's voice on the radio. She turns toward the rising sunlight, and says to her fellows: "Listen."

KHRUSTALYOV, MY CAR! (Aleksey German, 1998)

On the first day of the cold spring of 1953 two events occur, not comparable in importance: fireman Fedya Aramyshev is arrested and "the greatest leader of all times and peoples" Joseph Stalin is found lying on the floor of his dacha. Some time before these incidents, we see events from the life of military-medical service general Yuri Klensky. In the Soviet Union, the Doctors' plot, in which a group of predominantly Jewish doctors are accused of a plot to kill Stalin, is in full swing. But Klensky, himself Jewish, cheers himself up with almost non-stop drunkenness, hopes that Soviet justice will not touch him. However, a number of events suggest that Klensky's hopes are futile, and that his arrest will soon follow. In an early scene, the general meets his own double in the hospital, and then there is a "foreigner" in his house bearing news about a relative who allegedly lives abroad. Klensky, suspecting that this is a provocation, throws the "foreigner" down the stairs, but a local snitch manages to report in time to the MGB senior about the doctor's contact with foreigners. Klensky tries to escape, but ends up getting arrested. The general's family is evicted and is placed in a crowded communal apartment, and Klensky himself, after being detained, is left to the criminals who brutally beat and rape him. But then a miracle happens: the bloody general is driven directly from the cell to the country to a certain "high-ranking" patient, who the shocked Klensky learns to be the "Great Leader". Stalin's state is hopeless, he is dying while wheezing and agonizing, and Beria's voice full of triumph utters the first sentence of post-Stalinist Russia, "Khrustalyov, My Car!". Klensky is immediately released, but he does not return to medicine. Instead, the general "goes to the people". At the end of the film he is the commandant of a train. Drinking happily, he balances a glass of port on his shaved head.

JOHNNY GUITAR (Nicholas Ray, 1954)

On the outskirts of a wind-swept Arizona cattle town, an aggressive and strong-willed saloonkeeper named Vienna maintains a volatile relationship with the local cattlemen and townsfolk. Not only does she support the railroad being laid nearby (the cattlemen oppose it), but she permits "The Dancin' Kid" (her former amour) and his confederates to frequent her saloon. The locals, led by John McIvers and egged on by Emma Small (a onetime rival of Vienna for the Dancin' Kid's affections) are determined to force Vienna out of town, and the hold-up of the stage (erroneously blamed on the Dancin' Kid) offers a perfect pretext. Vienna faces them down, helped by the mysterious and just-arrived Johnny Guitar, a guitar-player who had an interview scheduled with her that day. McIvers gives Vienna, Johnny Guitar, and Dancin' Kid and his sidekicks 24 hours to leave. Johnny turns out to be Vienna's ex-lover and a reformed gunslinger whose real name is Johnny Logan. A smoldering love/hate relationship develops. Dancin' Kid and his gang rob the town bank, while Vienna is there by coincidence, to fund their escape to California, but the pass is blocked by a railroad crew dynamiting a way in, and they flee back to their secret hideout (a played-out silver mine) behind a waterfall. Emma convinces the townsfolk that Vienna is as guilty as the rest, and the posse rides to her saloon. Vienna appears to be getting the best of another verbal confrontation when one of the wounded bank robbers, a youth named Turkey, is discovered under a table. Emma persuades the men to hang Vienna and Turkey, and burns the saloon down. At the last second Vienna, though not Turkey, is saved from hanging by Johnny Guitar. Vienna and Johnny escape the posse and find refuge in Dancin' Kid's secret hideaway. The posse tracks them down, and the last two of Kid's men are killed by infighting; one, Bart, is killed by Johnny when Bart was going to betray and shoot the Kid. A halt is called to the bloodbath by the posse's leader, McIvers. Emma challenges Vienna to a showdown and shoots Vienna in the shoulder; Dancin' Kid calls to Emma but is killed by a bullet to the head fired by the angered and insanely jealous Emma. Vienna then shoots Emma in the head. The posse allows Johnny and Vienna to leave the hideout in peace, watching them go.

AMERICAN GRAFFITI (George Lucas, 1973)

On their last evening of summer vacation in 1962, high school graduates Curt Henderson and Steve Bolander meet two other friends, confident drag-racing king John Milner and unpopular but well-meaning Terry "The Toad" Fields in the parking lot of Mel's Drive-In in Modesto, California. Steve and Curt are to travel "Back East" in the morning and start college but the latter has second thoughts about leaving. Laurie, Steve's girlfriend and Curt's sister, arrives moments later, Steve suggesting to her that they see other people while he is away at college to "strengthen" their relationship. Though not openly upset, it affects her interactions with him through the night. Curt, Steve and Laurie attend the high-school sock hop. En route, Curt sees a beautiful blonde woman driving a white Ford Thunderbird next to them, who mouths "I love you" before turning a right. The interaction causes Curt to desperately search for her throughout the night. After leaving the hop, he is coerced into joining a group of greasers called "The Pharaohs", who force him into several tasks including stealing coins from arcade machines and hooking a chain to a police car, ripping out its back axle. During a tense ride, the Pharaoh leader tells Curt that "The Blonde" is a prostitute, which he does not believe. With Steve allowing Terry to take care of his car while he's studying at college, Terry cruises around the strip and picks up rebellious Debbie. Now calling himself "Terry The Tiger", he attempts all night to impress her by lying about the car being his and purchasing alcohol with no ID. While he and Debbie leave Steve's car in a rural spot in order to share a romantic interlude, thieves steal the car. Later, after the alcohol has made Terry violently sick, he sees Steve's car and attempts to steal it back. But he's caught by the car thieves who beat him up until John intervenes. Terry eventually admits to Debbie that he's been lying about the car all along and he actually drives a scooter; she suggests it is "Almost a motorcycle" and says she had fun with him, agreeing to meet up with him again. In an attempt to get cruising company for the evening, John inadvertently picks up Carol, a precocious 12-year-old who manipulates him into driving her around all night. Lying to suspicious friends that she's a cousin and he's stuck with babysitting duty, they have a series of petty arguments until another car's occupants verbally harass her as she attempts to walk home alone, John then deciding to protect her. Meanwhile, skilled racer Bob Falfa is searching out John to challenge him to the defining race for John's drag-racing crown. During his night of goading anyone he comes across for a challenge, he picks up an emotional Laurie after the argument with Steve that was brewing all night. After leaving the Pharaohs, Curt drives to the radio station to ask omnipotent disc jockey "Wolfman Jack" to read a message out on air for The Blonde in the White Thunderbird. He encounters an employee who tells him the Wolfman does not work there and that the shows are pre-taped for replay, claiming the Wolfman "is everywhere" but promises to have the Wolfman air the request. As Curt leaves, he notices the employee talking into the microphone and realizes he is in fact the Wolfman, who reads the message for The Blonde asking her to call Curt on the pay phone at Mel's drive in. After eventually taking Carol home, John is found by Bob Falfa, successfully goading him into the definitive race along Paradise Road outside the city, the event gaining attention and causing numerous cars to tag along to watch. As Terry starts the drag race, John takes the lead but Bob's tire blows out, swerving into a ditch and rolling over before bursting into flames. Steve, aware that Laurie was Bob's passenger, rushes to the wreck as she and Bob crawl out and stagger away before the car explodes. While John helps his rival to safety, Laurie begs Steve not to leave her, he assures her that he will stay with her in Modesto. Exhausted, Curt is awakened by the pay phone. He finally speaks to The Blonde, who does not reveal her identity but hints at the possibility of meeting that night. Curt replies that he is leaving town. Later at the airfield, he says goodbye to his parents and friends before boarding the plane. After take off, he looks down at the ground from the window and sees the white Thunderbird driving along the road below. Curt thoughtfully gazes into the sky. An epilogue prior to the end credits reveals that John was killed by a drunk driver in 1964, Terry was reported missing in action near An Lộc in 1965, Steve is an insurance agent in Modesto and Curt is a writer living in Canada.

THE BIRTH OF A NATION (D.W. Griffith, 1915)

Part 1: Civil War of United States The film's portrayal of the Siege of Petersburg, led by Ben Cameron Phil, the elder son of the Stonemans (a Northern family), falls in love with Margaret Cameron (the daughter of a Southern family), during a visit to the Cameron estate in South Carolina. There, Margaret's brother, Ben, idolizes a picture of Elsie Stoneman, Phil's sister. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, a black militia attacks the Cameron home and is routed by Confederate soldiers, who save the Cameron women. Leading the final charge at the Siege of Petersburg, Ben Cameron earns the nickname of "the Little Colonel", but is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Working there as a nurse is Elsie Stoneman, whose picture he has been carrying. Elsie takes Cameron's mother, who had traveled there to tend her son, to see Abraham Lincoln. Mrs. Cameron persuades him to pardon Ben. When Lincoln is assassinated, his conciliatory postwar policy expires with him. In the wake of Lincoln's death, Elsie's father and other Radical Republicans are determined to punish the South. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto head to South Carolina to observe the implementation of Reconstruction policies. During the election, in which Lynch is elected lieutenant governor, blacks stuff the ballot boxes, while many whites are denied the vote. The newly elected members of the South Carolina legislature are mostly black. Hooded Klansmen catch Gus, portrayed in blackface by white actor Walter Long Inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks up with him. While going off alone into the woods to fetch water, Flora Cameron is followed by Gus, a freedman and soldier who is now a captain. He tells Flora he desires to marry her. Uninterested, she rejects him, but Gus keeps insisting. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. While looking for Flora, Ben sees her jump and holds her as she dies. He then carries her body to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. After discovering Gus' murder, Lynch orders a crackdown on the Klan. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two former Union soldiers who agree to hide them. Congressman Stoneman, Elsie's father leaves to avoid being connected with Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who lusts after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch says that it is Elsie he wishes to marry. Elsie breaks a window and cries out for help, getting the attention of undercover Klansman spies. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Lynch is captured while his militia attacks the hut where the Camerons are hiding. However, the Klansmen, with Ben at their head, save them. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron.

AN ANGEL AT MY TABLE (Jane Campion, 1990)

Part 1: TO THE IS-LAND Janet Frame was born Janet Paterson Frame in a working class New Zealand family in August 1924, the third of five children (Myrtle and Bruddie were her older sister and brother respectively, Isabel and June were her younger sisters). Various scenes from her childhood are dramatized - traveling on a train with her family, being punished for stealing money from her father to buy gum and selling it at school, witnessing Bruddie suffer an epileptic seizure, visiting the school nurse, befriending a child named Poppy, who suffers from domestic abuse, writing a poem for class, discovering sexual intercourse, graduating from primary school, and reenacting scenes from a fantasy book with her family. As a teenager, Janet attends an all-girls school where she becomes increasingly interested in literature and begins submitting her poems to newspapers. One day, Myrtle and Isabel go to the public baths; Janet does not go because she wants to write. Only Isabel returns because Myrtle drowned. She meets Poppy again, who is now in trade school. After reading The Scholar Gipsy, Janet resolves to become a poet instead of a teacher. A few years later, Janet, now 18, leaves home for Dunedin College of Education to train as a teacher, burning up her works before leaving. Part 2: AN ANGEL AT MY TABLE Opening intertitle[edit] Prospero: My brave spirit! Who was so firm, so constant, that this coil Would not infect his reason? Ariel: Not a soul, but felt a fever of the mad; and play'd Some tricks of desperation Shakespeare, THE TEMPEST (Act 1, Scene 2) Arriving in Dunedin, Janet stays at the house of an uncle and aunt. While training, she becomes increasingly shy and reclusive and begins auditing courses at the adjacent University of Otago (before their merger in 2007), during which she develops a crush on Mr. Forrest, her psychology lecturer. Isabel later joins her and one day, they are discovered secretly eating their uncle and aunt's chocolates and kicked out, but they manage to find an abandoned house. However, as Isabel begins to make friends, she moves out and Janet is left alone again, faced with an unwanted future as a teacher. One day, Janet abandons her teaching post in the spur of the moment and begins working at a kitchen to support her dream of writing. Her autobiography draws Mr. Forrest's attention, especially her account of an unsuccessful suicide attempt via aspirin overdose (not shown in the film) that has decayed her teeth, and he helps commit her to a local psychiatric ward before she is transferred to Seacliff Lunatic Asylum, where she is diagnosed with schizophrenia. Meanwhile, Isabel accompanies their mother on a vacation that ends with Isabel's fatal drowning. Following Mr. Forrest's advice, Janet visits a Mrs. Chandler in Christchurch and follows her advice to be admitted in Sunnyside Hospital, receiving over 200 applications of electroconvulsive therapy over 8 years there and gradually losing her will to live. In 1951, her short story collection The Lagoon and Other Short Stories is published and wins her the Hubert Church Memorial Award. In light of her success, Janet's doctor cancels a scheduled lobotomy and she is eventually discharged from Seacliff and returns home. Upon returning, June introduces Janet to Frank Sargeson, who has developed an interest in her work and allows her to live with him and mentors her. During this time, she completes and publishes her debut novel Owls do cry (1957); this helps her receive receive a literary grant to travel and work abroad. Part 3: THE ENVOY FROM MIRROR CITY Opening intertitle[edit] You may go to France for me, Ha Ha the wooing o'it... Robert Burns, DUNCAN GRAY (poem) Arriving in London, Janet is denied entrance at a hotel she claims to have made a reservation at, eventually finding a room at a cheap hotel managed by a man called Patrick, with whom she soon begins a relationship. She takes a trip to Spain, during which she engages in a summer fling with a young man that impregnates her. Returning to England, Janet aborts the baby and applies for an office job under Patrick's encouragement, but her schizophrenia leads her to be rejected. Hoping to determine her true mental history, Janet voluntarily admits herself into a mental hospital and learns that she was misdiagnosed. Janet meets with her agent who tells her to write about her years in mental health facilities. She takes the manuscript to a publisher who praises her talent but tells her to write a bestseller instead and provides her with financial support. One day in 1963, Janet receives a letter from June telling her that their father has died (their mother had as well, with only Janet, June, and Bruddie still living) and decides to return home, where she is approached by two local reporters who want to interview her. One night some time later, June's daughter dances to "The Twist" outside of Janet's writing camper while she works. After June and her daughter turn in, Janet exits the camper and dances to it before returning to her typewriter, resuming her work on A State of Siege (1966).

MARKETA LAZAROVÁ (Frantisek Vlácil, 1967)

Part 1[edit] The sons of Kozlík, a robber clan leader, ambush a group travelling to Mladá Boleslav in winter. The new Bishop of Hennau, an ally of the Bohemian king, escapes, but his young son Kristian and his assistant are taken. Mikoláš, one of Kozlík's sons, finds the neighbouring clan leader Lazar scavenging the site but spares his life as he prays to Christ. They both have a holy vision involving Lazar's virgin daughter, Marketa. At their settlement, Kozlík chastises Mikoláš for letting a man escape, bringing captives, and sparing Lazar. His rage increases when he overhears his other son Adam saying that they could have used the escaped bishop as leverage against the king. His daughter Alexandra takes a liking to Kristian, much to Adam's disgust. (She had previously once indulged and once rejected an affair with Adam. When their mother Katarina found out and told Kozlík, Adam lost his arm as punishment for the incest.) Kozlík answers a royal summons to Boleslav. The king's captain attempts to seize him, but he escapes, chased by wolves back to the settlement. Anticipating a regiment led by the captain, the clan retreats into the woods. Mikoláš visits Lazar, urging him to help Kozlík ambush the regiment. Marketa is shocked to see Mikoláš brutally beaten and driven out. A small group sent by Kozlík to avenge the beating finds the regiment already at Lazar's settlement. They kill the captain's closest knight and retreat. The captain swears justice and revenge. Lazar and Marketa visit the nunnery, but Lazar does not have enough money for her to take vows. Returning their settlement, they find it captured by Mikoláš and his men, who kill Lazar's mentally disabled son. As Lazar begs for his life, Mikoláš demands Marketa in exchange. He protests, but they nail him to the gate and take Marketa. At their forest stronghold, Mikoláš rapes Marketa and then protects her from Kozlík's wrath. Meanwhile, Kristian has impregnated Alexandra. Kozlík chains both couples on a nearby hill. Part 2[edit] When the captain's regiment arrives at the stronghold with Adam as a captive, Kozlík allows the four back inside. In an initial rash attack, the captain is repulsed but Adam dies. He then mounts a successful second attack. Kristian sees Alexandra chased by the attackers and is torn between loyalty to his father and love for her. He stumbles away beaten while a dream-like flashback shows him explaining his love for Alexandra and their future child to his dismayed father. He reaches Lazar's abandoned settlement and meets Bernard, a priest and former victim of the robber clan. He collapses, recovers, and walks through a pack of wolves back into the woods. Meanwhile, Alexandra, Mikoláš, and Marketa have escaped the captain, who has taken Kozlík captive to Boleslav. Alexandra finds Kristian crawling through the woods and hits him on the head with a stone. Kristian's father eventually finds her and demands to know where his body is buried, and finally she is arrested. Marketa returns to Lazar, who survived, but he rejects her. In a trance-like state, she travels to the nunnery and begins to take her vows just as Mikoláš attempts to free Kozlík from the Boleslav dungeon. A child finds her and takes her arm. She leaves the ceremony to find Mikoláš dying in the castle courtyard from wounds suffered in the attempt. The captain marries Mikoláš and Marketa on the spot. Kozlík sees the marriage and is taken away while Mikoláš dies. Brother Bernard finds Marketa in the wilderness and offers to travel with her in search of a new life. In the final scene, Marketa wanders on as the narrator reveals that she and Alexandra each had a son and that Marketa breastfed both boys.

IVAN THE TERRIBLE, PART 2 (Sergei Eisenstein, 1946)

Part II[edit] Part II opens in the court of King Sigismund of Poland, to whom Kurbsky swears allegiance. Sigismund promises to make Kurbsky ruler of Ivan's territories, once he exploits the tsar's absence by conquering them. The plan is foiled when an emissary announces that Ivan has returned to Moscow. A flashback shows Ivan as a child, witnessing his mother being poisoned and removed, then as a young teenager standing up to the condescension of the boyars who want to rule over young Ivan's head. He begins by reforming the land distribution - he takes the boyars' lands, then reinstalls them as managers, increasing his own power at their expense. His friend, Kolychev, arrives, now the monk Philip; after a heated debate, Philip agrees to become metropolitan of Moscow, as long as Ivan gives him the right to intercede for condemned men. This is mutually agreed upon, but as soon as it is settled, Ivan, propelled by his lieutenant Malyuta Skuratov, finds a way around this: he executes condemned men quickly, before Philip can use his right. In this way he has three of Philip's kinsmen executed. Fyodor Basmanov, the first of the Oprichniki, helps Ivan figure out that the Tsarina was poisoned, and both suspect Evfrosinia of poisoning the cup of water. Ivan orders Fyodor not to say anything about it until they are certain beyond doubt of her guilt. The boyars, close to desperation, plead their case to Philip and eventually win him over. He vows to block Ivan's abuse of power, and confronts him in the cathedral while a miracle play is being presented. As the argument heats up, a small child, carried on the boyars' shoulders next to Evfrosinia, calls out, asking whether this is the "terrible heathen king". Ivan, angry, proclaims that he will be exactly what they call him - terrible. He is now sure that Evfrosinia poisoned his wife, the Tsarina, and he has Philip seized. The boyars now decide that their only option is to assassinate Ivan, and the novice Pyotr is selected to wield the knife. Malyuta Skuratov arrives to invite Vladimir to a banquet with Tsar Ivan and the Oprichniki. (From here, the film is in colour.) At the banquet, Ivan gets Vladimir drunk while the Oprichniki sing and dance around them; a tipsy Vladimir mentions that there is a plot to kill Ivan, and that he, Vladimir, is to replace him as Tsar. Fyodor Basmanov notices Pyotr, the assassin, leaving and signals to Ivan who, pretending surprise at Vladimir's revelation, suggests Vladimir try being Tsar for a while. He has the Oprichniki bring throne, orb, sceptre, crown and royal robes, and they all bow down to "Tsar Vladimir". Then Ivan tells Vladimir to lead them to the cathedral in prayer, as a Tsar should lead. (Back to black-and-white.) Hesitantly, Vladimir does. In the cathedral, the assassin runs up, stabs the mock Tsar and is immediately seized by Fyodor and Malyuta. Evfrosinia arrives, jubilant at the apparent death of Ivan, until she sees Ivan alive; rolling the corpse over, she realizes it is her own son. Ivan orders Fyodor and Malyuta to release Pyotr, the assassin, and thanks him for killing not only "a fool", but "the tsar's worst enemy". He sentences Evfrosinia, who is holding the crown her son was wearing and is singing over his dead body as if deranged. (Back to colour.) At the end, Ivan is seen proclaiming that all his enemies within Moscow are ruthlessly vanquished and he can now turn his attention to those outside.

IVAN THE TERRIBLE, PART 1 (Sergei Eisenstein, 1944)

Part I[edit] In the prologue Ivan's mother and her lover are murdered by the boyars. Later Ivan is enthroned as Grand Prince of Moscow.[2] Part I begins with Ivan's coronation as Tsar of all the Russians, amid grumbling from the boyars and silent jealousy from his cousin, Vladimir of Staritsa and especially from Vladimir's mother and Ivan's aunt, the evil-looking Evfrosinia Staritskaia. Ivan makes a speech proclaiming his intent to unite and protect Russia against the foreign armies outside her borders and the enemies within - a reference to the boyars, who are already seen as discontented with his coronation. Shortly after, Ivan marries Anastasia Romanovna and there is a wedding celebration. This causes him to lose the friendship of his two best friends, Prince Andrei Kurbsky and Fyodor Kolychev. The latter receives Ivan's permission to retire to a monastery, while Kurbsky attempts to resume his romance with the Tsarina, who repels his advances. The marriage feast is interrupted by news of the burning of several boyar palaces, carried into the Tsar's palace by a mob of the common people who also complain that the Tsar is being led astray by the Tsarina's family (the Romanovs), the Glinskys and the Zakharins. Ivan calms the crowd, but is interrupted by envoys from the khanate of Kazan, who send him a ceremonial knife with the suggestion that he do himself a favor by using it to commit suicide. Ivan immediately proclaims that his kingdom is at war with Kazan. The next scene shows the 1552 siege of Kazan, in which Ivan's army digs saps underneath the city and fills them with gunpowder. Kurbsky, nominally in command, is reprimanded by Ivan for senseless brutality (he ties Tatar prisoners to palisades within earshot of the walls of Kazan and tells them to shout to the city to surrender; the defending archers immediately shoot the prisoners). The city of Kazan falls to the Russian army. During his return from Kazan, Ivan falls seriously ill and is thought to be on his deathbed; Orthodox priests come to give him the last rites before he dies. Ivan sends for his relatives and orders them to swear allegiance to his son, the infant Dmitri, reminding them of the need for a single ruler to keep Russia united. They demur, with Ivan's aunt, Evfrosinia Staritskaya, openly urging the others to swear allegiance to her son, Vladimir, instead. Emotionally overwrought, Ivan collapses and is thought dead. The relatives, celebrating, all begin to swear allegiance to Vladimir, the "boyar tsar" they have hoped for; meanwhile, Kurbsky is uncertain of his own loyalty, trying to decide between the two sides. However, when the Tsarina says, "Do not bury a man before he is dead", Kurbsky realizes that Ivan is still alive, and hurriedly swears his allegiance to Ivan's infant son, Dmitri. He is sent, as a reward, to the western border of the kingdom to defend against the Livonians and Poles. At the same time, Ivan dispatches Alexei Basmanov, a commoner he likes, to the south to take care of the Crimean border. The fact that Ivan promotes a commoner over them creates more discontent amongst the boyars. The Tsarina now falls ill, and while Ivan is receiving bad news from all fronts, the boyars plot to kill her. Evfrosinia comes into the palace with a cup of wine hidden in her robes, in which she has put poison. Just as the royal couple receive word that Kurbsky has defected to the Livonians, Evfrosinia slips the cup of wine into the room and listens from behind a wall. The news that Kurbsky is a traitor gives the Tsarina a convulsion and Ivan, looking around for a drink to calm her, takes the poisoned wine and gives it to her. The scene changes to show the dead Tsarina lying in state in the cathedral, with Ivan mourning beside her bier. While a monk reads biblical verses over the body, Ivan questions his own justifications and ability to rule, wondering if his wife's death is God's punishment on him. However, he pulls himself out of it, and sends for his old friend, Kolychev, the monk. At this point, Alexei Basmanov arrives, suggesting that Ivan instead surround himself with men he can really trust - common people, "iron men", the Oprichniki - and offers his own rather startled son, Fyodor, for service. Ivan accepts, and sets about recouping his losses. He abdicates and leaves Moscow, waiting until the people beg him to return, saying that he now rules with absolute power by the will of the people.

FROM THE CLOUDS TO THE RESISTANCE (Jean-Marie Straub & Danièle Huillet, 1979)

Part One: Six stories taken from Cesare Pavese's Dialoghi con Leuco. Philosophical conversations between mythological characters including Nephele/The Cloud (Olimpia Carlisi) and Issione/Ixion (Guido Lombardi), Ippòloco/Hippolochus (Gino Felici) and Sarpedonte/Sarpedon (Lori Pelosini), Edipo/Oedipus (Walter Pardini) and Tiresias (Ennio Lauricella), two hunters (Andrea Bacci and Lori Cavallini) discussing reincarnation of humans punished by the gods, Litierse/Lityerses and Eracle/Heracles (Francesco Ragusa and Fiorangelo Pucci), and a father and son (Dolando Bernardini and Andrea Filippi) who are burning a fire as an annual sacrifice to the land. Part Two: Taken from Cesare Pavese's novel, La Luna e i Falò After WWII, the emigrant 'The Bastard' (Mauro Monni) comes back to his village in the Langhe (northern Italy) to find that everyone he knew has died and the war has deeply changed relationships between people.

THE UMBRELLAS OF CHERBOURG (Jacques Demy, 1964)

Part One: The Departure (November 1957)[edit] Madame Émery and her beautiful 16-year-old daughter Geneviève have a tiny, struggling umbrella boutique in the coastal town of Cherbourg in Normandy. Guy is a handsome young auto mechanic who lives with and cares for his sickly aunt and godmother Élise. Though Geneviève's mother disapproves, Guy and Geneviève are deeply in love; they plan to marry and name their first child Françoise. At the same time, Madeleine, a quiet young woman who looks after Guy's aunt, is secretly in love with Guy. Guy is drafted to serve in the Algerian War. The night before he leaves, he and Geneviève pledge their undying love and have sex, perhaps for the first time. Part Two: The Absence (January-April 1958)[edit] Geneviève learns she is pregnant and writes to Guy, but his replies are sporadic. Her mother tells her to give up on Guy - he has forgotten her. Geneviève is courted by Roland Cassard, a kind, young, very wealthy Parisian jeweler; he wants to marry her despite her pregnancy. In one of the connections among Demy's trilogy of films, Roland had previously unsuccessfully wooed the title character in the earlier Lola (1961); now he relates a version of this story to Madame Émery. Madame Émery urges Geneviève to be sensible and choose a secure future with Roland. Roland announces that he will be going to Amsterdam for three months, and will wait for Geneviève's answer until his return. Geneviève marries Roland in a great cathedral, but she appears ambivalent about her decision. Part Three: The Return (March 1959 - December 1963)[edit] Returning injured from the war, Guy learns that Geneviève has married and left Cherbourg. He has a difficult time readjusting to civilian life. After an argument with his boss he quits his job, goes drinking in a seedy bar, and spends the night with a prostitute. When he returns to his apartment, Madeleine tells him that his aunt Élise has died. Guy sees that Madeleine loves him, and he rebuilds his life with her help. Using the inheritance from his aunt he opens a new "American-style" gas station. Madeleine agrees to marry him, though she wonders whether he is merely on the rebound after losing Geneviève. Four years later, on a snowy Christmas Eve, Guy and Madeleine are in the office of their gas station with their small son François. Madeleine is decorating a Christmas tree. They appear a loving, happy family. As Madeleine and François leave to visit Santa Claus, an expensive car pulls in. The mink-clad driver is Geneviève, now wealthy and sophisticated. She has a young girl with her. As Guy rounds the car to Geneviève's window their eyes meet and there is a moment of awkwardness. Guy invites Geneviève into the warmth of the station's office, where they chat as a boy attends to Geneviève's car. This is Geneviève's first time in Cherbourg since her marriage, she tells him; her mother died recently. Looking outside at the girl in the car, Guy asks, "What did you name her?" Geneviève answers, "Françoise. She's a lot like you. Do you want to see her?" Guy shakes his head. The car is ready. At the door Geneviève pauses and asks, "Are you doing well?" Guy replies, "Yes, very well." She opens the door and pulls her collar tight against the cold before looking back at Guy one last time. She walks to her car, gets in, and drives off. Madeleine returns with François, and Guy greets her with a kiss. As the camera pulls back, he frolics with his son in the snow, then picks him up and follows Madeleine inside as red warning lights flash in the foreground.

BARRY LYNDON (Stanley Kubrick, 1975)

Part I: By What Means Redmond Barry Acquired the Style and Title of Barry Lyndon[edit] In 1750s Ireland, Redmond Barry's father is killed in a duel over a sale of some horses. The widow devotes herself to her only son. Barry becomes infatuated with his older cousin, Nora Brady. Nora and her family plan to improve their finances through marriage to a well-off British Army captain, John Quin. Barry shoots Quin in a duel, then flees. He is robbed by highwayman Captain Feeney. Penniless and dejected, Barry joins the British Army. Later, family friend Captain Grogan informs him that his dueling pistol had been loaded with tow, and Quin is not dead: the duel was staged by Nora's family to get rid of Barry. Barry's regiment fights in Germany in the Seven Years' War. Grogan is fatally wounded in a skirmish. Fed up with the war, Barry deserts. En route to neutral Holland, he encounters Frau Lieschen. The two briefly become lovers. Later, Barry encounters Prussian Captain Potzdorf, who, seeing through his disguise, offers him the choice of being handed over to the British to be shot or enlisting in the Prussian Army. Barry enlists and later receives a special commendation from Frederick the Great for saving Potzdorf's life in a battle. Two years later, after the war ends in 1763, Barry is employed by Captain Potzdorf's uncle in the Prussian Ministry of Police. The Prussians suspect the Chevalier de Balibari, a professional gambler, of spying for the Austrians, and have Barry become his servant. Barry reveals everything to the Chevalier, a fellow Irishman. They become confederates. After they cheat the Prince of Tübingen at cards, the Prince accuses the Chevalier of cheating and demands satisfaction. Barry's Prussian handlers, still suspecting that the Chevalier is a spy, arrange for the Chevalier to be expelled from the country. Alerted by Barry, the Chevalier flees in the night. The next morning, Barry, disguised as the Chevalier, is escorted from Prussia. Over the next few years, Barry and the Chevalier travel across Europe, perpetrating gambling scams, with Barry forcing payment from reluctant debtors with sword duels. In Spa, he encounters the beautiful and wealthy Countess of Lyndon. He seduces and later marries her after the death of her elderly husband, Sir Charles Lyndon (caused by Barry's goading and verbal repartee). Part II: Containing an Account of the Misfortunes and Disasters Which Befell Barry Lyndon[edit] In 1773, Barry takes the Countess's last name and settles in England. Lord Bullingdon, Lady Lyndon's ten-year-old son by Sir Charles, quickly comes to despise Barry. Barry retaliates by physically abusing Bullingdon. The Countess bears Barry a son, Bryan Patrick, but the marriage is unhappy: Barry is openly unfaithful and enjoys spending his wife's money, while keeping her in seclusion. Barry's mother comes to live with him. She warns him that if Lady Lyndon were to die, Lord Bullingdon would inherit everything, and advises him to obtain a noble title to protect himself. Toward this goal, he cultivates the acquaintance of the influential Lord Wendover and spends large sums of money to ingratiate himself to high society. However, Lord Bullingdon, now a young adult, crashes a lavish birthday party Barry throws for Lady Lyndon. He publicly explains why he detests his stepfather and declares he will leave the family estate for as long as Barry remains there and married to his mother. Barry viciously assaults Bullingdon until he is physically restrained. This causes him to be cast out of polite society. Barry proves an overindulgent father to Bryan and gives him a full-grown horse for his ninth birthday. Bryan is thrown from the horse and dies a few days later. The grief-stricken Barry turns to alcohol, while Lady Lyndon seeks solace in religion, assisted by the Rev. Samuel Runt, who had been tutor to Lord Bullingdon and Bryan. Barry's mother dismisses Runt, both because the family no longer needs (nor can afford, due to Barry's spending debts) a tutor and for fear that his influence will worsen Lady Lyndon's condition. Lady Lyndon later attempts suicide. Runt and Graham, the family's accountant, then seek out Lord Bullingdon, who returns and challenges Barry to a duel. A coin toss gives Bullingdon the first shot, but he nervously misfires his pistol. Barry magnanimously fires into the ground, but Bullingdon refuses to let the duel end. In the second round, Bullingdon shoots Barry in the leg. The leg has to be amputated below the knee. While Barry is recovering, Bullingdon takes control of the Lyndon estate. He offers Barry 500 guineas a year provided he leave England forever. With his credit exhausted, Barry accepts. Barry resumes his former profession of gambler (though without his former success). In December 1789, a middle-aged Lady Lyndon signs Barry's annuity cheque as her son looks on.

LAST TANGO IN PARIS (Bernardo Bertolucci, 1972)

Paul, a middle-aged American hotel owner mourning the suicide of his wife Rosa, meets a young, engaged Parisian woman named Jeanne at an apartment that both are interested in renting. Paul takes the apartment after they begin an anonymous sexual relationship there. He insists that they not share any personal information, even given names, much to Jeanne's dismay. At one point in their relationship, he rapes her. Despite this, she tells him that she tries to leave him, but can't bring herself to do it. The affair continues for some time until Paul decides to leave Jeanne, after which she arrives at the apartment and finds that he has packed up and left without warning. Paul later meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy of his wife. As he tells his life story, they walk into a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her through the streets of Paris. While running, she continually yells at him to go away and tells him that their relationship is over. Despite her threats to call the police, he chases her all the way back to her building and forces his way into her apartment. He mocks her for running away from him, followed by him saying he loves her and wants to know her name. Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, Jeanne, dazed, mutters to herself that he was just a stranger who tried to rape her and she did not know who he was, as if in a rehearsal preparing herself for questioning by the police.

MASCULIN FÉMININ (Jean-Luc Godard, 1966)

Paul, a young idealist who recently fulfilled his military service, is looking for a job. In a café, he meets Madeleine Zimmer, a young singer who wishes to make a record. They witness a woman having an argument with her partner, which culminates in the woman drawing a gun and shooting him. Paul goes to meet with his friend Robert Packard, a journalist who has Paul sign a petition to free a group of artists and writers in Rio de Janeiro accused of voicing their opposition to state policy. Paul begins working for a magazine. In a bathroom, Paul confronts Madeleine, saying that she promised him that they would go out that night. She asks him if "going out" means "going to bed", and he falls silent. She tells him that her promise was a lie. As the French presidential election of December 1965 approaches, Paul turns 21 years old and becomes romantically involved with Madeleine. Madeleine introduces him to her roommate Elisabeth Choquet. Also present is Catherine-Isabelle, whom Robert likes. Paul helps Robert put up posters around Paris and paint the phrase "Peace in Vietnam" along the side of a U.S. Army car. On a train, Paul and Robert witness a white woman and two black men antagonizing each other, which results in the woman firing a gun. Madeleine is to have her first single released by RCA. On the day of its release, Paul brings her to the café and attempts to propose to her. Madeleine, anxious to see the release of her record, says they will discuss the matter later. Paul records a message for Madeleine in a coin-operated record booth. He is then approached by a man with a knife, who stabs himself. In a laundromat, Paul recounts to Robert his experience of feeling that he was being followed. Robert, reading a newspaper, tells Paul about Bob Dylan, whom Robert says is a "Vietnik" (a portmanteau of "Vietnam" and "beatnik"). Paul starts living with Madeleine, Elisabeth and Catherine. He leaves his job at the magazine to become a pollster for IFOP. He interviews a young woman named Elsa, asking her about subjects such as politics and love. At the café, Paul tells Elisabeth that Madeleine is pregnant, but Elisabeth is skeptical. Madeleine arrives and sees the woman who shot her partner, now a prostitute. They also see a theatre director giving instructions to an actress. Paul, Madeleine, Elisabeth and Catherine go to a cinema to watch a film. During the screening, Madeleine tells Paul that she loves him. He leaves the theatre temporarily to spray-paint a slogan critical of Charles de Gaulle on a wall outside. Later, Robert has a conversation with Catherine, during which he asserts that she is in love with Paul. One day, a man borrows a box of matches from Paul, and uses them to self-immolate, leaving behind a note that says "Peace in Vietnam". Paul and Catherine visit Madeleine in a recording studio, where she is recording a new song. She acts distant towards Paul, and after encountering a reporter, asks Paul to fetch a car for her. Paul calls the war ministry, and impersonating a military general, demands a car. One arrives, and he, Madeleine and Catherine depart the premises in it. From January to March 1966, Paul continues conducting opinion polls about politics, love, and other topics. He determines that his lack of objectivity, even when unconscious, resulted in a lack of sincerity in the answers from the people he polled. At a police station, Catherine recounts to an officer that Paul purchased a high-rise apartment. Madeleine wanted to move Elisabeth in with them, which Paul opposed. Paul reportedly fell from a window, which Catherine asserts must have been an accident rather than a suicide. Madeleine, still pregnant, tells the officer that she is not sure what she will do next.

DUEL IN THE SUN (King Vidor, 1946)

Pearl Chavez is orphaned after her father Scott Chavez kills her mother, having caught her with a lover. Before Scott Chavez is executed as a punishment for killing his wife, he arranges for his daughter Pearl to live with his second cousin and old sweetheart, Laura Belle in Texas. Arriving by stagecoach, Pearl is met by Jesse McCanles, one of Laura Belle's two grown sons. He takes her to Spanish Bit, their enormous cattle ranch. The gentle and gracious Laura Belle is happy to welcome her to their home, but not so her husband, the Senator Jackson McCanles, who uses a wheelchair. He calls Pearl "a half-breed" and jealously despises Pearl's father. The second son, Lewt, is a ladies' man with a personality quite unlike that of his gentlemanly brother Jesse. He expresses his interest in Pearl in direct terms and she takes a strong dislike to him. Laura Belle calls in Mr. Jubal Crabbe, the "Sinkiller", a gun-toting preacher, to counsel Pearl on how to avoid the evils of temptation. Pearl is determined to remain "a good girl." When she submits to Lewt's aggressive advances one night, Pearl is angry with him and ashamed of her own behavior. But she also cannot help but be flattered by his lust and attentions. Jesse, meanwhile, is ostracized by his father and no longer welcome at the ranch after siding with railroad men, headed by Mr. Langford, against the Senator's personal interests. Jesse is in love with Pearl but he leaves for Austin to pursue a political career and becomes engaged to Helen Langford, Langford's daughter. Offended when Lewt reneges on a promise to marry her, Pearl takes up with Sam Pierce, a neighboring rancher who is smitten with her. She does not love him but says yes to his proposal. Before they can be married, however, Lewt picks a fight with Pierce in a saloon and guns him down. He insists that Pearl can belong only to him. Lewt becomes a wanted man. On the run from the law, Lewt finds time to derail a train and occasionally drop by the ranch late at night and press his attentions on Pearl. She cannot resist her desire for him and lies for Lewt to the law, hiding him in her room. Afterward, however, he walks out on her, despite her pleas that she loves him. Laura Belle's health takes a turn for the worse and the Senator admits his love for her before she dies. Jesse returns to visit but is too late; his mother is dead. The Senator continues to shun him, as does Lewt, their family feud finally resulting in a showdown. Lewt tosses a gun to his unarmed brother but Jesse stands his ground without attempting to pick it up. Jesse warns that Lewt will eventually be hanged as a murderer, and Lewt responds by shooting Jesse. The Senator's old friend, Lem Smoot tells him that Jesse's wound is not mortal and the old man softens up towards his son and reconciles. Pearl is relieved that Jesse is going to survive. When Helen arrives, she invites Pearl to leave Spanish Bit forever and come live with them in Austin. Pearl agrees, but when she is tipped off by one of the Spanish Bit hands that Lewt intends to come after Jesse again, she arms herself and engages in a shootout with Lewt in the desert. They die in each other's arms.

THE BITTER TEARS OF PETRA VON KANT (Rainer Werner Fassbinder, 1972)

Petra von Kant (Carstensen) is a prominent fashion designer based in Bremen. The film is almost totally restricted to her apartment's bedroom, decorated by a huge reproduction of Poussin's Midas and Bacchus (c.1630), which depicts naked and partially clothed men and women. The room also contains numerous life-size mannequins for her work, though only her assistant Marlene (Hermann) is shown using them. Petra's marriages have ended in death or divorce. Her first husband Pierre was a great love, who died in a car accident while Petra was pregnant; the second began the same way, but ended in disgust. Petra lives with Marlene, another designer, whom she treats as a slave, and this relationship reveals Petra's sadistic, codependent tendencies. First act[edit] Petra is shown being awoken by Marlene. She begins her day and gets dressed while her assistant attends to her. Petra makes a phone call to her mother, makes demands of Marlene (including slow-dancing), and dons a brown wig just before she receives a visitor. Petra talks to Sidonie (Schaake), her cousin, about her male relationships. Meanwhile, Marlene does the work and acts as hostess. Karin Thimm (Schygulla), Sidonie's friend, joins the women. Karin, newly returned to Germany after residing in Sydney for five years, is a desirable but shallow 23-year-old woman. Petra, immediately attracted to Karin at this first meeting, suggests Karin become a model. Karin agrees to return the following day. Second act[edit] Petra quickly falls madly in love with Karin. The next day, with Marlene showing clearer signs of frustration, but still typing, Petra, now wearing a larger and dark wig, offers to support Karin while she trains to be a model. Karin's husband has remained in Sydney, though Petra is only momentarily put off by this revelation. The women soon show their incompatibility. Petra had a happy childhood and came from a home where the good things in life were always stressed. Karin's father was a toolmaker, and she always felt neglected by her parents. Petra loved mathematics and algebra at school, but Karin could never understand algebra and the point of substituting letters for numbers. Petra has a daughter, whom she rarely sees, but reassures herself that her daughter is at the best possible boarding school. Karin's parents are now both dead. She says people reject her when they find out about her history, but Petra now admits to a great affection for her, even stronger after having heard her family history. Petra orders Marlene to get a bottle of Sekt. Karin goes into more detail about her parents' death. Her father was laid off because of his age. In a drunken stupor, he killed Karin's mother and then hanged himself. Karin feels she has drifted in her life; her husband in Sydney treated her as a slave and offered no reprieve from her past, but Petra insists this is about to change. Marlene returns with the bottle of Sekt in a cooler, silently returns to her typing, and the other two women toast each other. Petra promises to make Karin a great model. Marlene, previously hidden by a curtain, stops typing and glares at Petra. While listening to a record, Petra says life is predestined, people are brutal and hard, and everyone is replaceable. Petra, discovering the expense of Karin's hotel, suggests she move in with her. Marlene resumes her typing, but after Karin agrees to move in with Petra, she is ordered to bring more Sekt. While Petra admits to being in love with Karin, Karin herself can only say she likes Petra. Six months or so pass. Third act[edit] Petra, resplendent in a red wig, is getting dressed, while Karin is in bed reading a colour magazine. Petra cancels a flight to Madrid over the telephone, a habit which Karin thinks is pointless, and Petra orders Marlene to find her shoes. Karin thinks Marlene is strange, but Petra reassures her that Marlene loves her. Karin still cannot say she loves Petra. Karin's own capacity for cruelty emerges while the two drink gin and tonic together. The previous night, Karin had been out until 6am, and she admits to having slept with a Black American man. Petra is jealous and shouts at Marlene. Freddy, Karin's husband, telephones from Zurich. It emerges that they have been in contact by letter, that Karin is no longer planning on getting a divorce, and that she is rejoining her husband. Petra calls her a "rotten little *****", and Karin responds that being with Petra is less strenuous than working the streets. She asks Petra to book a flight to Frankfurt, where she is to meet her husband, and asks for 500DM from Petra, though Petra freely gives her twice that. Marlene drives Karin to the airport; Petra is now too drunk to drive. Fourth act[edit] On Petra's birthday, the bedroom is almost empty. Petra, lying on the floor and now wearing a blond wig, is drinking heavily while assuming that Karin, her object of love and hate, will phone. Her daughter Gaby (Eva Mattes) arrives. Petra tells her little; Gaby admits to being in love with a young man, though so far it is unrequited. Sidonie appears with a birthday present: a doll with blond hair like Karin's. She admits to knowing Karin is in Bremen that day. Petra's mother Valerie (Gisela Fackeldey) arrives and is subjected to abuse. Petra accuses her of being a ***** who never worked and lived off her husband. Petra tramples on a china tea service and smashes cups against the wall. She insists she is not crazy about Karin, but loves her. She claims Karin's little finger is worth all of them put together. Her mother, previously unaware of Karin, is shocked at the thought of her daughter being in love with another woman. Petra says that she hates Gaby and that she never wants to see Sidonie again, but Sidonie stays. Final act[edit] Later that same night, Petra lies in bed without a wig, her natural auburn hair on display. Her mother tells her that Gaby cried herself to sleep. Petra is apologetic to her mother, and realizes she wanted to possess Karin rather than love her. Karin calls and Petra amicably declines seeing her before she leaves for Paris. Petra instead offers the chance that they will meet again in the future. Petra turns to Marlene after her mother has left, and apologizes for treating her badly. It will be different from now on, Petra promises, adding that she will share her life with Marlene. But Marlene, who has satisfied her personal masochistic desire in submitting to Petra, packs her meager belongings (including, notably, a pistol) in her small suitcase, and leaves, taking the doll with her.

ARMY OF SHADOWS (Jean-Pierre Melville, 1969)

Philippe Gerbier, the head of a French Resistance cell, is arrested by Vichy French police on suspicion of Resistance activity. Although he is acquitted due to a lack of evidence, he is still sent to an internment camp. He and a young Communist work on an escape plan, but before they can execute it, Gerbier is transported to Paris. While waiting to be questioned by the Gestapo, he manages to kill a guard and flee. In Marseille, Gerbier, Félix Lepercq, Guillaume "Le Bison" Vermersch, and Claude "Le Masque" Ullmann trick Paul Dounat, the young agent who betrayed Gerbier, into meeting them. They take him to a house, but discover the neighboring house is newly occupied, so they cannot use their guns to kill Dounat. Lacking a decent knife, they strangle their former associate. Félix meets his old friend Jean-François Jardie in a bar and recruits the risk-loving former pilot to join the Resistance. While on a mission to Paris, Jean-François visits his older brother Luc, a renowned philosopher who appears to live a detached, scholarly life. He then travels to the Mediterranean coast to help evacuate some Allied soldiers, along with Gerbier and the "Big Boss", to London via a submarine to Gibraltar. Jean-François does not recognize him in the dark, but the Big Boss turns out to be Luc, whose identity is a closely guarded secret. In London, Gerbier tries to arrange additional support for the Resistance from the Free French leadership, and Luc is decorated by Charles de Gaulle. When Gerbier learns Félix has been arrested by the Gestapo, he cuts his trip short and parachutes into the French countryside. After Félix's arrest, Mathilde, a Parisian housewife who is part of the Resistance, moved down to Lyon to run Gerbier's cell, and Gerbier is impressed by her abilities, so he keeps her around. She devises a plan to rescue Félix, who is being tortured at the Gestapo headquarters. Jean-François, after hearing the details, writes Gerbier a letter of resignation and incriminates himself with an anonymous letter to the Gestapo so he will be jailed with Félix. Mathilde, Le Masque, and Le Bison try to rescue Félix disguised as Germans and with a forged order to transfer him to Paris, but their plan fails when the prison doctor pronounces him unfit for transport, as he is barely alive. When Jean-François, who has also been badly beaten, sees the rescue has failed, he gives Félix his only cyanide pill. Having seen Gerbier's picture on a wanted poster during the rescue attempt, Mathilde urges him to lie low, but he says there is no one who can take his place at the moment. He is swept up in a raid by Vichy police and handed over to the Germans. Taken to be executed, Gerbier and his cellmates are told that, if they can reach the far wall of a room before they are killed by machine gunners, they will be allowed to live a little longer. Once the shooting starts, smoke bombs block the Germans' view and a rope is dropped down to Gerbier. He climbs it and escapes. Gerbier goes to hide out for a month in an abandoned farmhouse. One day, Luc arrives to discuss what to do about Mathilde, who has been arrested. He worries she will inform on her confederates, as her teenage daughter has been threatened. Luc hides when Le Masque and Le Bison arrive with the news that Mathilde is free and two members of the Resistance have been captured. Gerbier orders Mathilde's immediate execution, but Le Bison refuses to do so and swears to prevent Gerbier from killing her, so Luc emerges and convinces Le Bison that Mathilde would want them to kill her before she is forced to identify anyone else. Luc accompanies Gerbier, Le Bison, and Le Masque to Paris. They locate Mathilde on the street, and Le Bison shoots her twice before they drive away. Closing text reveals that all four men were captured and died within less than a year.

UMBERTO D. (Vittorio De Sica, 1952)

Police disperse an organized street demonstration of elderly men demanding a raise in their meager pensions. One of the marchers is Umberto D. Ferrari, a retired government worker. He returns to his room and finds that his landlady has rented it out for an hour to an amorous couple. She threatens to evict Ferrari at the end of the month if he cannot pay the overdue rent, fifteen thousand lire. He sells a watch and some books, but only raises a third of the amount. The landlady refuses to accept partial payment. Meanwhile, the sympathetic maid confides in Umberto that she has her own problems. She is three months pregnant, but is unsure which of her two lovers (both soldiers) is the father, the tall one from Naples or the short one from Florence. Feeling ill, Umberto gets himself admitted to a hospital. It turns out to be tonsillitis and he is discharged after a few days. When he returns to the apartment, he finds workmen renovating the entire place. The landlady is getting married. Umberto's room has a gaping hole in the wall. The maid tells him it is to become part of an enlarged living room. The maid was taking care of his dog named Flike, but a door was left open and Flike ran away. Umberto rushes to the city pound and is relieved to find his dog; however, when he makes a veiled plea for a loan to one of his friends who has a job, the friend refuses to listen. Unable to bring himself to beg from strangers on the street Umberto contemplates suicide, but knows he must first see that Flike is taken care of. He packs his belongings and leaves the apartment. His parting advice to the maid is to get rid of the boyfriend from Florence. Umberto attempts to find a place for Flike, first with a couple who board dogs, then a little girl he knows, but the latter's nanny makes her give the dog back. Flike goes to play with some children and Umberto slips away, hoping that one of them will adopt him. Despite Umberto's attempt to abandon Flike, the dog finds him hiding under a footbridge. Finally in desperation, Umberto takes the dog in his arms and walks on to a railway track as a speeding train approaches. Flike becomes frightened, wriggles free and flees. Umberto runs after him. At first Flike warily hides, but eventually Umberto coaxes Flike out to play with a pine cone. Still homeless and nearly penniless, Umberto scampers down the park lane with his dog.

TOKYO STORY (Yasujiro Ozu, 1953)

Retired couple Shūkichi and Tomi Hirayama live in Onomichi in western Japan with their daughter Kyōko, a primary school teacher. They have five adult children, four of whom are living. The couple travel to Tokyo to visit their son, daughter, and widowed daughter-in-law. Their eldest son, Kōichi, is a physician who runs a small clinic in Tokyo's suburbs, and their eldest daughter, Shige, runs a hairdressing salon. Kōichi and Shige are both busy and do not have much time for their parents. Only their widowed daughter-in-law, Noriko, the wife of their middle son Shōji, who was missing in action and presumed dead during the Pacific War, goes out of her way to entertain them. She takes time from her busy office job to take Shūkichi and Tomi on a sightseeing tour of metropolitan Tokyo. Feeling conflicted that they don't have time to entertain them, Kōichi and Shige pay for their parents to stay at a hot spring spa at Atami but they return early because the nightlife there disturbs their sleep. Tomi also has an unexplained dizzy spell. Upon returning, a frustrated Shige explains that she sent them to Atami because she wanted to use their bedroom for a meeting; the elderly couple has to leave for the evening. Tomi goes to stay with Noriko, with whom she deepens their emotional bond, and advises her to remarry. Shūkichi, meanwhile, gets drunk with some old friends from Onomichi. The three men drunkenly ramble about their children and lives. A policeman brings Shūkichi and one of his friends to Shige's salon. Shige is outraged that her father is lapsing into the alcoholic ways that overshadowed her childhood. The couple remarks on how their children have changed, returning home earlier than planned, intending to see their younger son Keizō when the train stops in Osaka. However, Tomi suddenly becomes ill during the journey and they decide to disembark the train, staying until she feels better the next day. They return to Onomichi, and Tomi falls critically ill. Kōichi, Shige, and Noriko rush to Onomichi to see Tomi, who dies shortly afterwards. Keizō arrives too late, as he has been away on business. After the funeral, Kōichi, Shige, and Keizō leave immediately; only Noriko remains. After they leave, Kyōko criticises her siblings over their selfishness toward their parents. She believes that Kōichi, Shige, and Keizō do not care how hard it will be for their father now that he has lost their mother. She is also upset at Shige for asking so quickly for Tomi's clothes as keepsakes. Noriko responds that while she understands Kyōko's disappointment, everyone has their own life and the growing chasm between parents and children is inevitable. She convinces Kyōko not to be too hard on her siblings because one day she will understand how hard it is to take time away from one's own life. After Kyōko leaves for school, Noriko informs her father-in-law that she must return to Tokyo that afternoon. Shūkichi tells her that she has treated them better than their own children despite not being a blood relation. Noriko protests that she is selfish and has not always thought about her missing husband, and Shūkichi credits her self-assessment to humility. He gives her a watch from the late Tomi as a memento. Noriko cries and confesses her loneliness; Shūkichi encourages her to remarry as soon as possible, wanting her to be happy. Noriko travels from Onomichi back to Tokyo, contemplating the watch, while Shūkichi remains behind, resigned to the solitude he must endure.

THE NIGHT OF THE HUNTER (Charles Laughton, 1955)

Reverend Harry Powell is a misogynistic serial killer and self-proclaimed preacher traveling along the Ohio River in West Virginia during the Great Depression. He is arrested for driving a stolen car and serves 30 days at Moundsville Penitentiary. There he shares a cell with Ben Harper, who killed two men in a bank robbery for $10,000.[a] Harper made his children, John and Pearl, promise to never reveal where he hid the money. Despite Powell's attempts to worm it out of him, Harper takes the secret to his grave when he is hanged for the murders. Upon his release from prison, Powell visits Harper's tiny hometown, where he charms the townsfolk and woos Harper's widow, Willa, a waitress for Walter Spoon and his wife Icey.[8] Overnight Powell manages to win the town's trust and weds Willa, but John remains instinctively distrustful of him. Powell suspects that John knows where the money is hidden and threatens him to reveal its location. John accidentally reveals that he and Pearl know where the money is hidden. After Powell refuses to consummate their marriage, Willa deludes herself that he married her to redeem her soul and begins preaching alongside him in tent revivals. She later overhears Powell threatening Pearl to reveal the money's whereabouts and loses her faith in him. After Powell murders Willa and ties her body to a Model T that he sinks in the river, he claims that she left her family for a life of sin when Walter and Icey question her abrupt disappearance. He threatens the children and learns the money is hidden inside Pearl's doll. Birdie Steptoe, an elderly friend of the family, discovers Willa's body while fishing but refrains from telling the police for fear that he will be accused of murder. The children escape an enraged Powell and attempt to seek refuge with Birdie, who they find in a drunken stupor. They use their father's small johnboat to flee down the river and find sanctuary with Rachel Cooper, a tough old woman who looks after stray children. Powell tracks them down, but Rachel sees through his deceptions and runs him off her property with a shotgun. Powell returns after dark. During an all-night standoff, Rachel gives Powell a face full of birdshot and he flees into her barn. She summons the state police, who arrive and arrest Powell for Willa's murder. John breaks down during Powell's handcuffing, having a flashback of his father's fate. He beats the doll against Powell's struggling body in anguish, spilling the cash. During Powell's trial John cannot bring himself to testify against him. After Powell's sentencing, Rachel takes John and the other children away as a deranged Icey leads a lynch mob toward the police station. Powell is escorted out the back to safety just in time, but the prison hangman vows to see him again soon. John and Pearl spend their first Christmas together with Rachel and her brood of stray children.

WEEKEND (Jean-Luc Godard, 1967)

Roland and Corinne Durand are a bourgeois couple. Each has a secret lover and conspires to murder the other. They drive out to Corinne's parents' home in the country to secure her inheritance from her dying father, resolving to resort to murder if necessary. The trip becomes a chaotically picaresque journey through a French countryside populated by bizarre characters and punctuated by violent car accidents. After their own Facel-Vega is destroyed in a collision, they wander through a series of vignettes involving class struggle and figures from literature and history, such as Louis Antoine de Saint-Just and Emily Brontë. When Corinne and Roland eventually arrive at her parents' place, they discover that her father has died and her mother refuses to give them a share of the spoils. They kill her and hit the road again, only to fall into the hands of a group of hippie revolutionaries (calling themselves the Seine and Oise Liberation Front) that support themselves through theft and cannibalism. Killed during an escape attempt, Roland is chopped up and cooked.

THE KING OF COMEDY (Martin Scorsese, 1983)

Rupert Pupkin is an aspiring yet delusional stand-up comedian trying to launch his career. After meeting Jerry Langford, a successful comedian and talk-show host, Rupert believes his "big break" has finally come. He attempts to book a spot on Langford's show, but is continually rebuffed by his staff, particularly Cathy Long, and finally by Langford himself. Along the way, Rupert indulges in elaborate and obsessive fantasies in which he and Langford are colleagues and friends. Hoping to impress, Rupert invites a date, Rita, to accompany him when he arrives uninvited at Langford's country home. When Langford returns home to find Rupert and Rita settling in, he angrily tells them to leave. Rupert continues brushing off Jerry's dismissals and Rita's urging until Jerry finally retorts that he had only told Rupert he could call him so Jerry would get rid of him. Bitterly vowing to work "50 times harder", Rupert finally leaves. Exhausted with rejection, Rupert hatches a kidnapping plot with the help of Masha, a fellow stalker similarly obsessed with Langford. As ransom, Rupert demands that he be given the opening spot on that evening's episode of Langford's show (guest hosted by Tony Randall) and that the show be broadcast in normal fashion. The network's bosses, lawyers and the FBI agree to his demands, with the understanding that Langford will be released once the show airs. Between the taping of the show and the broadcast, Masha has her "dream date" with Langford, who is taped to a chair in her parents' Manhattan townhouse. Langford convinces her to untie him under the guise of seduction, at which time he seizes the gun, only to find it is a toy gun loaded with faulty pellets. He slaps Masha to subdue her and flees downtown, where he angrily sees Rupert's full stand-up routine on a series of television display sets. Meanwhile, Rupert's act is well received by the studio audience. In his act, he describes his troubled upbringing while simultaneously laughing at his circumstances. Rupert then closes his act by confessing to the audience that he kidnapped Langford to break into show business. As the audience still laughs (thinking it's still a part of his act), Rupert responds by saying: "Tomorrow, you'll know I wasn't kidding and you'll all think I'm crazy. But I figure it this way: better to be king for a night than a schmuck for a lifetime." Having shown the broadcast to Rita at her bar, he proudly submits to his arrest as the FBI agents profess distaste for his jokes. The film ends with a news report of Rupert's crime, his six-year prison sentence and parole after two years, set to a montage of storefronts stocking his "long-awaited" autobiography, King for a Night, which states that Rupert still considers Langford his friend and mentor and that he is currently weighing several "attractive offers," including comedy tours and a film adaptation of his memoirs. Rupert later takes the stage for a television special with a live audience, where an announcer enthusiastically introduces him as the King of Comedy while Rupert himself prepares to address his audience. The announcer repeats "Ladies and gentlemen, Rupert Pupkin", or similar variations seven times while the audience claps continuously and Rupert smiles, waves and bows at them.

WOMAN IN THE DUNES (Hiroshi Teshigahara, 1964)

School teacher and amateur entomologist Niki Junpei leaves Tokyo on a beach expedition to collect tiger beetles and other insects that live in sandy soil. After a long day of searching, Junpei misses the last bus ride back to town. A village elder and some of his fellow local villagers suggest that he stay the night at their village. Junpei agrees and is guided down a rope ladder to a hut at the bottom of a sand dune, the home of a young woman. Junpei learns that she lost her husband and daughter in a sandstorm a year ago and now lives alone; their bodies are said to be buried under the sand somewhere near the hut. After dinner, the woman goes outside to shovel the sand into buckets, which the villagers reel in from the top of the dune. Junpei offers to help but she refuses, telling him that he is a guest and there is no need for him to help on the first day. The next morning, Junpei gets ready to leave as he must return to his job in Tokyo, but finds that the rope ladder has been pulled up. Unable to escape as the sand surrounding the hut is too steep and does not give him enough grip to climb up, he quickly realises that he is trapped and expected to live with the woman and assist her in digging sand, which is sold to cement manufacturers, in exchange for food and water. Junpei begrudgingly accepts his role, which the woman has long accepted without question. Junpei becomes the widow's lover but hopes to escape from the dune. One evening, using an improvised grappling hook, he escapes from the sand dune and runs away, the villagers in pursuit. Junpei is unfamiliar with the geography of the area and becomes trapped in quicksand. The villagers free him and return him to the hut. Eventually, Junpei resigns himself to his situation but requests time to see the nearby sea; in exchange, he needs to have sex with the woman while the villagers watch. Junpei agrees but she refuses and fends him off. Through his persistent effort to trap a crow as a messenger, he discovers a way to draw water from the damp sand at night by capillary action and becomes absorbed in perfecting the technique. When it is discovered that the woman is ill from an ectopic pregnancy, the villagers take her to a doctor, leaving the rope ladder down when they go. Junpei instead chooses to stay, telling himself that he can still attempt to escape after showing the villagers his method of water production. The film's final shot is of a police report that shows that Junpei has been missing for seven years and declared as having disappeared.

MEMORIES OF UNDERDEVELOPMENT (Tomás Gutiérrez Alea, 1968)

Sergio, a wealthy bourgeois aspiring writer, decides to stay in Cuba even though his wife and friends flee to Miami. Sergio looks back over the changes in Cuba, from the Cuban Revolution to the missile crisis, the effect of living in what he calls an underdeveloped country, and his relations with his girlfriends Elena and Hanna. Memories of Underdevelopment is a complex character study of alienation during the turmoil of social changes. The film is told in a highly subjective point of view through a fragmented narrative that resembles the way memories function. Throughout the film, Sergio narrates the action, and at times is used as a tool to present bits of political information about the climate in Cuba at the time. In several instances, real-life documentary footage of protests and political events are incorporated into the film and played over Sergio's narration to expose the audience to the reality of the Revolution. The timeframe of the film is somewhat ambiguous, but it appears to take place over a few months.

A TOUCH OF ZEN (King Hu, 1971)

Set in a remote mountain village in Ming China, the 14th century CE, the story is largely seen through the eyes of Gu, a well-meaning but unambitious scholar and painter, with a tendency towards being clumsy and ineffectual. A stranger arrives in town and requests his portrait painted by Gu, but his real objective is to bring a female fugitive back to the city for execution on behalf of the East Chamber guards. The fugitive, Yang, is befriended by Gu, and together they plot against the corrupt Eunuch Wei who wants to eradicate all trace of her family after her father attempts to warn the Emperor of the eunuch's corruption. His daughter fled, and the saintly and powerful Abbot Hui Yuan intervened to protect them. The stranger, Yang and her friends are all superior warriors. The stranger has a special flexible sword that bends and that he can wear within his belt, making him seem unarmed. One of the unique aspects of the film is that Gu is a non-combatant all the way through the film and only becomes involved when he sleeps with Yang. Upon doing so, he is no longer the naïve bumbling innocent, but instead becomes confident and assertive, and when Yang's plight is revealed, he insists on being part of it - and even comes up with a fiendish "Ghost Trap" for the East Chamber guards. This is a plan to use a supposedly haunted site to play tricks on the guards to make them believe they are prey to the undead. In the aftermath, Gu walks through the carnage laughing at the ingenuity of his plan until the true cost of human life dawns upon him. He sees Abbot Hui and his followers arrive to help bury the dead. After the battle, Gu is unable to find Yang, who he is told has left him and does not want him to follow her. He tracks her down at the monastery of Abbot Hui, where she has given birth to a child by Gu and become a nun. She tells Gu that their destiny together has ended and gives Gu their child. Later, when Gu and the child are tracked down by Hsu Hsien-Chen, the evil commander of Eunuch Wei's army, Yang and General Shi come to Gu's rescue. Abbot Hui and four of his monks also arrive to fight Hsu. After Hsu fakes repentance in order to surprise attack Abbot Hui, a battle begins in which Hsu is killed and Yang, Shi, and Abbot Hui are all badly injured (the latter bleeding golden blood). The film famously ends with the injured Yang staggering toward a silhouetted figure, presumably Abbot Hui, seen meditating with the setting sun forming a halo around his head, an image suggesting the Buddha and enlightenment.

ORPHEUS (Jean Cocteau, 1950)

Set in contemporary Paris, the story of the film is a variation of the classic Greek myth of Orpheus and Eurydice. The picture begins with Orpheus (Marais), a famous poet, visiting the Café des Poètes. At the same time, a Princess (Casares) and Cégeste (Édouard Dermit), a handsome young poet whom she supports, arrive. The drunken Cégeste starts a brawl. When the police arrive and attempt to take Cégeste into custody, he breaks free and flees, only to be run down by two motorcycle riders. The Princess has the police place Cégeste into her car in order to "transport him to the hospital". She also orders Orpheus into the car in order to act as a witness. Once in the car, Orpheus discovers Cégeste is dead and that the Princess is not going to the hospital. Instead, they drive to a chateau (the landscape through the car windows is presented in negative) accompanied by the two motorcycle riders as abstract poetry plays on the radio. This takes the form of seemingly meaningless messages, like those broadcast to the French Resistance from London during the Occupation. At the ruined chateau, the Princess reanimates Cégeste into a zombie-like state, and she, Cégeste, and the two motorcycle riders (the Princess' henchmen) disappear into a mirror, leaving Orpheus alone. He wakes in a desolate landscape, where he stumbles on the Princess' chauffeur, Heurtebise (Périer), who has been waiting for Orpheus to arrive. Heurtebise drives Orpheus home where Orpheus' pregnant wife Eurydice (Déa), a police inspector, and Eurydice's friend Aglaonice (head of the "League of Women", and apparently in love with Eurydice) discuss Orpheus' mysterious disappearance. When Orpheus comes home, he refuses to explain the details of the previous night despite the questions which linger over the fate of Cégeste, whose body cannot be found. Orpheus invites Heurtebise to live in his house and to store the Rolls in Orpheus' garage, should the Princess return. Eurydice attempts to tell Orpheus that she is with child, but is silenced when he rebuffs her. While Heurtebise falls in love with Eurydice, Orpheus becomes obsessed with listening to the abstract poetry which only comes through the Rolls' radio, and it is revealed that the Princess is apparently Death (or one of the suborders of Death). Cocteau himself commented on such interpretation: "Among the misconceptions which have been written about Orphée, I still see Heurtebise described as an angel and the Princess as Death. In the film, there is no Death and no angel. There can be none. Heurtebise is a young Death serving in one of the numerous sub-orders of Death, and the Princess is no more Death than an air hostess is an angel. I never touch on dogmas. The region that I depict is a border on life, a no man's land where one hovers between life and death".[2] When Eurydice is killed by Death's henchmen, Heurtebise proposes to lead Orpheus through the Zone (depicted as a ruined city - actually the ruins of Saint-Cyr military academy) into the Underworld in order to reclaim her. Orpheus reveals that he may have fallen in love with Death who has visited him in his dreams. Heurtebise asks Orpheus which woman he will betray: Death or Eurydice. Orpheus enters the afterlife by donning a pair of surgical gloves left behind by the Princess after Eurydice's death. In the Underworld, Orpheus finds himself as a plaintiff before a tribunal which interrogates all parties involved in the death of Eurydice. The tribunal declares that Death has illegally claimed Eurydice, and they return Eurydice to life, with one condition: Orpheus may not look upon her for the rest of his life on pain of losing her again. Orpheus agrees and returns home with Eurydice. They are accompanied by Heurtebise, who has been assigned by the tribunal to assist the couple in adapting to their new, restrictive, life together. Eurydice visits the garage where Orpheus constantly listens to the Rolls' radio in search of the unknown poetry. She sits in the backseat. When Orpheus glances at her in the mirror, Eurydice disappears. A mob from the Café des Poètes (stirred to action by Aglaonice) arrives in order to extract vengeance from Orpheus for what they suppose to be his part in the murder of Cégeste. Orpheus confronts them, armed with a pistol given to him by Heurtebise, but is disarmed and shot. Orpheus dies and finds himself in the Underworld. This time, he declares his love to Death who has decided to herself die in order that he might become an "immortal poet". The tribunal this time sends Orpheus and Eurydice back to the living world with no memories of the previous events. Orpheus learns that he is to be a father, and his life begins anew. Death and Heurtebise, meanwhile, walk through the ruins of the Underworld towards an even worse fate than death - to become judges themselves.

MURIEL (Alain Resnais, 1963)

Set over a two-week period in 1962, Hélène is a middle-aged widow who runs an antique business from her own apartment in Boulogne-sur-Mer. She resides with her stepson, Bernard, who is haunted by the memory of a girl named Muriel whom he helped torture and murder while doing military service in Algeria. Hélène is visited by a past lover, Alphonse, whom she meets at the local train station one night. She finds he is accompanied by Françoise, a young aspiring actress whom Alphonse introduces as his niece, though she is in truth his young lover. That night, Françoise and Bernard go to walk around town, while Hélène and Alphonse reminisce at the apartment before she is met by her friend, Roland de Smoke, who arrives to escort her to the local casino. Left alone at Hélène's apartment, Alphonse finds Bernard's journal, in which he writes about Muriel, and how since her death he is "no longer alive." Meanwhile, Françoise and Bernard visit the seaside, where Françoise admits to Bernard that she is in fact Alphonse's girlfriend. Bernard abruptly leaves Françoise to wander the streets alone, and goes to spend the night in a seaside shack he often stays at. When Hélène returns to her apartment, she finds Alphonse angered by her leaving him alone, which stirs up several painful memories where she left him alone. Later, Alphonse admits that, during his military service, he had intended to marry Hélène, but she had refused his invitation to live with him in Algiers. Françoise returns to the apartment after the two have retired for the evening. At dawn, after tensions have calmed, Hélène and Alphonse spend a pleasant morning together strolling through the city, imagining the life they could have had together. Bernard again encounters Françoise on the street while riding his bicycle, and later briefly speaks with his girlfriend, who informs him she has been admitted to university in Montevideo. Alphonse later strolls along the seaside with Françoise, who tells him that she must leave him when they return to Paris. Hélène and Alphonse have lunch at a cafe, where they encounter Robert, whom Bernard served alongside in the war. She urges Robert to speak with Bernard, whom she worries has become stunted after returning from the war. Ernest, Alphonse's brother-in-law, arrives in town, demanding he return to his wife—this revelation shocks Hélène. Later, it is revealed that Bernard has murdered Robert. In the midst of the series of troubling events, Alphonse's wife, Simone, arrives at Hélène's empty apartment. She walks from room to room, but finds no one there. Structure The story takes place over 15 days in September-October 1962. The published screenplay, which is divided into 5 acts, provides specific dates and times for each scene, but these are not apparent in the film. An extended sequence takes place on the first day (Act 1, a section lasting about 45 minutes: the introductions of Alphonse and his 'niece' Françoise to Hélène and Bernard, their first meal together, and then their separate evening pursuits). Another long sequence takes place on the last day (Act 5: the Sunday lunch and its revelations, and the scattering of the principal characters in their different directions). The intervening days (Acts 2-4) are represented in a series of fragmented scenes, which are chronological but seldom consecutive.

IT HAPPENED ONE NIGHT (Frank Capra, 1934)

Spoiled heiress Ellen "Ellie" Andrews has eloped with pilot and fortune-hunter King Westley against the wishes of her extremely wealthy father, Alexander Andrews, who wants to have the marriage annulled because he knows that Westley is really interested only in Ellie's money. Jumping ship in Florida, Ellie runs away and boards a Greyhound bus to New York City to reunite with her husband. She meets fellow passenger Peter Warne, a newspaper reporter who recently lost his job. Soon, Peter recognizes her and gives her a choice. If she gives him an exclusive on her story, he will help her reunite with Westley. If not, he will tell her father where she is. Ellie agrees to help. As they go through several adventures, Ellie loses her initial disdain for Peter and they begin to fall in love. When the bus breaks down and they begin hitchhiking, they fail to secure a ride until Ellie displays a shapely leg to Danker, the next driver. When they stop en route, Danker tries to steal their luggage but Peter chases him down and seizes his Model T. Near the end of their journey, Ellie confesses her love to Peter. The owners of the motel in which they stay notice that Peter's car is gone and then expel Ellie. Believing Peter has deserted her, Ellie telephones her father, who agrees to let her marry Westley. Meanwhile, Peter has obtained money from his editor to marry Ellie but he misses her on the road. Although Ellie has no desire to be with Westley, she believes that Peter has betrayed her for the reward money and so agrees to have a second, formal wedding with Westley. On the wedding day, she finally reveals the whole story to her father. When Peter comes to Ellie's home, Andrews offers him the reward money, but Peter insists on being paid only his expenses, a paltry $39.60 for items that he had been forced to sell to buy gasoline. When Andrews presses Peter for an explanation of his odd behavior and demands to know if he loves her, Peter first tries to dodge the questions but then admits that he loves Ellie and storms out. Westley arrives for his wedding via an autogyro, but at the ceremony, Andrews reveals to his daughter Peter's refusal of the reward money and tells her that her car is waiting by the back gate in case she changes her mind. At the last minute, just before she says "I do", she decides not to go through with the wedding. Ellie dumps Westley at the altar, bolts for her car, and drives away as the newsreel cameras crank. A few days later, Andrews is working at his desk when Westley calls to tell him that he will take the financial settlement and not contest the annulment. His executive assistant brings him a telegram from Peter: "What's holding up the annulment, you slowpoke? The walls of Jericho are toppling!" That is a reference to a makeshift wall made of a blanket hung over a rope that was tied across the rooms separating the beds they had slept in, in order to give them each privacy while traveling together. With the annulment in hand, Andrews sends the reply, "Let 'em topple." The last scene has Peter's battered Model T parked in a motor court in Glen Falls, Michigan. The mom-and-pop owners talk and wonder why, on such a warm night, the newlyweds (he had seen the marriage license) wanted a clothesline, an extra blanket, and the little tin trumpet that he had gotten for them. As they look at the cabin, the toy trumpet sounds a fanfare, the blanket falls to the floor, and the lights in the cabin go out.

SHANE (George Stevens, 1953)

Shane, a laconic but skilled gunfighter with a mysterious past,[6] rides into an isolated valley in the sparsely settled Wyoming Territory in 1889. A drifter, he is hired as a farmhand by hardscrabble rancher Joe Starrett, who is homesteading with his wife, Marian, and their young son, Joey. Starrett tells Shane that a war of intimidation is being waged on the valley's settlers. Though they have claimed their land legally under the Homestead Acts, a ruthless cattle baron, Rufus Ryker, has hired various rogues and henchmen to harass them and force them out of the valley. Shane goes to town alone to buy supplies at Grafton's, a general store with an adjacent saloon. Shane enters the saloon where Ryker's men are drinking and orders a soda pop for Joey. Chris Calloway, one of Ryker's men, ridicules and taunts Shane by throwing his drink on him, but Shane ignores him and leaves. On Shane's next trip to town with the Starretts and other homesteaders, he defeats Calloway, and then he and Starrett win a bar room brawl against most of Ryker's other men. Ryker promises the next fight will be with guns. Ryker hires Jack Wilson, an unscrupulous and notoriously skilled gunfighter. Joey admires Shane, much to his mother's chagrin, after Shane demonstrates his shooting skills. Frank "Stonewall" Torrey, a hot-tempered ex-Confederate homesteader, is taunted and forced to draw his gun by Wilson, who then shoots Torrey dead outside the saloon. At Torrey's funeral, the settlers discuss abandoning their struggle and leaving the valley; but after witnessing one of their homesteads being destroyed in a fire set by Ryker's men, they find new resolve to continue the fight. With the purpose of killing him, Ryker invites Starrett to a meeting at the saloon, ostensibly to negotiate a settlement. Calloway, no longer loyal to Ryker, warns Shane of the double-cross. Resolved to protect Starrett from an ambush, Shane intervenes, even knocking Starrett unconscious to save him. Shane rides to town with Joey following on foot to watch the fight. Shane kills Wilson, Ryker, and Ryker's brother, but is injured. Outside, Shane sees Joey, who notices that Shane is bleeding. In an iconic closing scene, Shane bids farewell and rides off into the valley, ignoring Joey's desperate cries of "Shane, come back!"Shane, a laconic but skilled gunfighter with a mysterious past,[6] rides into an isolated valley in the sparsely settled Wyoming Territory in 1889. A drifter, he is hired as a farmhand by hardscrabble rancher Joe Starrett, who is homesteading with his wife, Marian, and their young son, Joey. Starrett tells Shane that a war of intimidation is being waged on the valley's settlers. Though they have claimed their land legally under the Homestead Acts, a ruthless cattle baron, Rufus Ryker, has hired various rogues and henchmen to harass them and force them out of the valley. Shane goes to town alone to buy supplies at Grafton's, a general store with an adjacent saloon. Shane enters the saloon where Ryker's men are drinking and orders a soda pop for Joey. Chris Calloway, one of Ryker's men, ridicules and taunts Shane by throwing his drink on him, but Shane ignores him and leaves. On Shane's next trip to town with the Starretts and other homesteaders, he defeats Calloway, and then he and Starrett win a bar room brawl against most of Ryker's other men. Ryker promises the next fight will be with guns. Ryker hires Jack Wilson, an unscrupulous and notoriously skilled gunfighter. Joey admires Shane, much to his mother's chagrin, after Shane demonstrates his shooting skills. Frank "Stonewall" Torrey, a hot-tempered ex-Confederate homesteader, is taunted and forced to draw his gun by Wilson, who then shoots Torrey dead outside the saloon. At Torrey's funeral, the settlers discuss abandoning their struggle and leaving the valley; but after witnessing one of their homesteads being destroyed in a fire set by Ryker's men, they find new resolve to continue the fight. With the purpose of killing him, Ryker invites Starrett to a meeting at the saloon, ostensibly to negotiate a settlement. Calloway, no longer loyal to Ryker, warns Shane of the double-cross. Resolved to protect Starrett from an ambush, Shane intervenes, even knocking Starrett unconscious to save him. Shane rides to town with Joey following on foot to watch the fight. Shane kills Wilson, Ryker, and Ryker's brother, but is injured. Outside, Shane sees Joey, who notices that Shane is bleeding. In an iconic closing scene, Shane bids farewell and rides off into the valley, ignoring Joey's desperate cries of "Shane, come back!"

CARRIE (Brian De Palma, 1976)

Shy 16-year-old Carrie White, who lives with her fanatically religious and unstable mother Margaret, is unpopular at school and often bullied by her peers. When Carrie experiences her first period in the school shower, she panics, having never been told about menstruation. Carrie's classmates throw tampons and sanitary pads at her while chanting "Plug it up!" until the gym teacher, Miss Collins, intervenes. Following conversations with Miss Collins and the principal, Carrie is dismissed from school for the day. After arriving home, Margaret tells Carrie that her menstruation was caused by sin, and she locks Carrie in an altar-like "prayer closet" to pray for forgiveness. At school, Collins reprimands Carrie's tormentors, punishing them with a week-long detention during gym class. She threatens that those who skip the punitive measure will be suspended for three days and barred from the upcoming prom. However, Carrie's longtime bully, Christine "Chris" Hargensen, walks out and gets excluded from the prom. Plotting vengeance against Carrie, Chris and her boyfriend Billy Nolan break into a farm and kill pigs to drain their blood into a bucket, which they place above the school's stage in the gymnasium. Norma, Chris' best friend and a prominent figure in the school's student council regime, plans to rig the Prom Queen election in Carrie's favor to get her on the stage. Meanwhile, Sue Snell, a deeply remorseful classmate, asks her handsome and popular boyfriend, Tommy Ross, to invite Carrie to the prom. Carrie believes the proposition is a prank, but he insists that it is genuine and she reluctantly accepts after Miss Collins consoles her. At home, she begins to discover that she has telekinesis as she shakes off her shyness. Despite Margaret's protests, Carrie puts on a flattering dress and hairstyle for the prom. Margaret sees Carrie's telekinetic powers and denounces her as a witch before Carrie leaves with Tommy. During the prom, Chris and Billy hide under the stage while the other conspirators switch the ballots to ensure that Carrie wins the Prom Queen title. As Carrie stands onstage with Tommy, finally beginning to feel accepted by her peers, Sue realizes Chris and Billy's plan, and begins to intervene. Miss Collins spots Sue and, thinking that she is up to no good, throws her out of the prom. Chris and Billy pull the rope attached to the bucket of pig blood, dousing Carrie; they then sneak out of the school. The empty bucket hits the outraged Tommy in the head, and he collapses. The crowd is left shocked and speechless at the prank, but Carrie hallucinates that everyone, even Miss Collins, is mocking her and, in a sudden outburst, telekinetically seals the exits and controls a fire hose, which injures several party-goers attempting to escape and sprays the overhead lights. Miss Collins is crushed by a falling basketball backboard and Carrie's principal and teacher are electrocuted, setting the gym on fire. Carrie exits the gym and seals the doors behind her, trapping staff and classmates. As Carrie walks home, Chris and Billy attempt to run her over with Billy's car but Carrie causes their car to overturn and explode, killing them. After Carrie bathes herself at home, Margaret reveals that Carrie was conceived when her husband was drunk, an act that Margaret shamefully admits she enjoyed. She comforts Carrie, and then stabs her in the back with a kitchen knife and begins chasing her through the house. Carrie levitates several sharp implements and sends them flying toward Margaret, crucifying her; then, she destroys the house and perishes. Some time later, Sue, the only survivor of the prom, has a nightmare in which she goes to lay flowers on the charred remains of Carrie's home, upon which stands a "For Sale" sign vandalized in black paint with the words: "Carrie White burns in Hell!". Suddenly, Carrie's bloody arm reaches from beneath the rubble and grabs Sue's forearm. Sue wakes up screaming and writhing in terror as her mother tries to comfort her.Shy 16-year-old Carrie White, who lives with her fanatically religious and unstable mother Margaret, is unpopular at school and often bullied by her peers. When Carrie experiences her first period in the school shower, she panics, having never been told about menstruation. Carrie's classmates throw tampons and sanitary pads at her while chanting "Plug it up!" until the gym teacher, Miss Collins, intervenes. Following conversations with Miss Collins and the principal, Carrie is dismissed from school for the day. After arriving home, Margaret tells Carrie that her menstruation was caused by sin, and she locks Carrie in an altar-like "prayer closet" to pray for forgiveness. At school, Collins reprimands Carrie's tormentors, punishing them with a week-long detention during gym class. She threatens that those who skip the punitive measure will be suspended for three days and barred from the upcoming prom. However, Carrie's longtime bully, Christine "Chris" Hargensen, walks out and gets excluded from the prom. Plotting vengeance against Carrie, Chris and her boyfriend Billy Nolan break into a farm and kill pigs to drain their blood into a bucket, which they place above the school's stage in the gymnasium. Norma, Chris' best friend and a prominent figure in the school's student council regime, plans to rig the Prom Queen election in Carrie's favor to get her on the stage. Meanwhile, Sue Snell, a deeply remorseful classmate, asks her handsome and popular boyfriend, Tommy Ross, to invite Carrie to the prom. Carrie believes the proposition is a prank, but he insists that it is genuine and she reluctantly accepts after Miss Collins consoles her. At home, she begins to discover that she has telekinesis as she shakes off her shyness. Despite Margaret's protests, Carrie puts on a flattering dress and hairstyle for the prom. Margaret sees Carrie's telekinetic powers and denounces her as a witch before Carrie leaves with Tommy. During the prom, Chris and Billy hide under the stage while the other conspirators switch the ballots to ensure that Carrie wins the Prom Queen title. As Carrie stands onstage with Tommy, finally beginning to feel accepted by her peers, Sue realizes Chris and Billy's plan, and begins to intervene. Miss Collins spots Sue and, thinking that she is up to no good, throws her out of the prom. Chris and Billy pull the rope attached to the bucket of pig blood, dousing Carrie; they then sneak out of the school. The empty bucket hits the outraged Tommy in the head, and he collapses. The crowd is left shocked and speechless at the prank, but Carrie hallucinates that everyone, even Miss Collins, is mocking her and, in a sudden outburst, telekinetically seals the exits and controls a fire hose, which injures several party-goers attempting to escape and sprays the overhead lights. Miss Collins is crushed by a falling basketball backboard and Carrie's principal and teacher are electrocuted, setting the gym on fire. Carrie exits the gym and seals the doors behind her, trapping staff and classmates. As Carrie walks home, Chris and Billy attempt to run her over with Billy's car but Carrie causes their car to overturn and explode, killing them. After Carrie bathes herself at home, Margaret reveals that Carrie was conceived when her husband was drunk, an act that Margaret shamefully admits she enjoyed. She comforts Carrie, and then stabs her in the back with a kitchen knife and begins chasing her through the house. Carrie levitates several sharp implements and sends them flying toward Margaret, crucifying her; then, she destroys the house and perishes. Some time later, Sue, the only survivor of the prom, has a nightmare in which she goes to lay flowers on the charred remains of Carrie's home, upon which stands a "For Sale" sign vandalized in black paint with the words: "Carrie White burns in Hell!". Suddenly, Carrie's bloody arm reaches from beneath the rubble and grabs Sue's forearm. Sue wakes up screaming and writhing in terror as her mother tries to comfort her.

NIGHT OF THE LIVING DEAD (George A. Romero, 1968)

Siblings Barbra and Johnny drive to a cemetery in rural Pennsylvania to visit their father's grave. Their car radio goes off the air due to technical difficulties. As they are leaving, a pale man wearing a tattered suit kills Johnny and attacks Barbra. She flees and takes shelter in a farmhouse, but finds the woman who lived there dead and half-eaten. She sees a multiplying number of strange ghouls, led by the man from the cemetery, approaching the house. A man named Ben arrives, who secures the farmhouse by boarding the windows and doors, and drives away the ghouls with a lever-action rifle. Barbra, in a catatonic state from shock, is surprised when two men, Harry and Tom, emerge from the cellar. Harry has been taking shelter there with his wife, Helen, and their young daughter, Karen, after a group of the same monsters overturned their car and bit Karen on the arm, leaving her seriously ill. Tom arrived with his girlfriend, Judy, after hearing an emergency broadcast about a series of brutal killings. Tom aids Ben in securing the farmhouse while Harry angrily protests that it is unsafe before returning to the cellar, which he believes is safer. Ghouls continue to besiege the farmhouse in increasing numbers. The refugees listen to radio and television reports of a wave of mass murder being committed across the east coast of the United States by an army of cannibalistic, reanimated corpses, and posses of armed men patrolling the countryside to kill the ghouls. They confirm that the ghouls can be stopped with a bullet, or heavy blow to the head, or by being burned, as Ben discovered, and that various rescue centers are offering refuge and safety. Scientists theorize that the reanimations are occurring due to radiation from a space probe that exploded in Earth's atmosphere on the way back from Venus. Ben devises a plan to obtain medical supplies for Karen and transport the group to a rescue center by refueling his truck. Ben, Tom, and Judy drive to a nearby gas pump, holding the ghouls off with torches and Molotov cocktails. However, the gas from the pump spills and causes the truck to catch fire and explode, killing Tom and Judy. Ben runs back to the house on his own and breaks down the door when Harry does not let him back in. Ben beats Harry for his cowardice. While the ghouls feed on the remains of Tom and Judy, the remaining survivors attempt to find a way out. However, the ghouls break through the barricades. In the ensuing chaos, Harry grabs Ben's gun and turns on him, but is eventually disarmed and fatally shot by Ben. Harry staggers down to the cellar and dies next to his daughter. Karen dies from her injuries, then becomes a ghoul. She eats her father's remains, and stabs Helen to death with a masonry trowel. Barbra recovers from her catatonic state and tries to help Ben keep the ghouls out, but is dragged away by a reanimated Johnny and the other ghouls. As the horde breaks into the house, Ben takes refuge in the cellar, where he shoots Harry's and Helen's ghouls. The next morning, an armed posse arrives and begins dispatching the remaining ghouls in the area. Awoken by their gunfire and sirens, Ben emerges from the cellar, but is shot and killed when they mistake him for a ghoul. His body is thrown onto a bonfire and burned with the rest of the ghouls.

THE SPIRIT OF THE BEEHIVE (Victor Erice, 1973)

Six-year-old Ana is a shy girl who lives in the manor house in an isolated Spanish village on the Castilian plateau with her parents Fernando and Teresa and her elder sister, Isabel. The year is 1940, and the civil war has just ended with the Francoist victory over the Republican forces. Her aging father spends most of his time absorbed in tending to and writing about his beehives; her much younger mother is caught up in daydreams about a distant lover, to whom she writes letters. Ana's closest companion is Isabel, who loves her but cannot resist playing on her little sister's gullibility. A mobile cinema brings Frankenstein to the village and the two sisters go to see it. The film makes a deep impression on Ana, in particular, the scene where the monster plays benignly with a little girl, then accidentally kills her. She asks her sister: "Why did he kill the girl, and why did they kill him after that?" Isabel tells her that the monster did not kill the girl and is not really dead; she says that everything in films is fake. Isabel says the monster is like a spirit, and Ana can talk to him if she closes her eyes and calls him. Ana's fascination with the story increases when Isabel takes her to a desolate sheepfold, which she claims is the monster's house. Ana returns alone several times to look for him and eventually discovers a wounded republican soldier hiding in the sheepfold. Instead of running away, she feeds him and even brings him her father's coat and watch. One night the Francoist police come and find the republican soldier and shoot him. The police soon connect Ana's father with the fugitive and assume he stole the items from him. The father discovers which of the daughters had helped the fugitive by noticing Ana's reaction when he produces the pocket watch. When Ana next goes to visit the soldier, she finds him gone, with blood stains still on the ground. Her father confronts her, and she runs away. Ana's family and the other villagers search for her all night, mirroring a scene from Frankenstein. While she kneels next to a lake, she sees Frankenstein's monster approaching from the forest and kneeling beside her. The next day, they find Ana physically unharmed. The doctor assures her mother that she will gradually recover from her unspecified "trauma", but Ana instead withdraws from her family, preferring to stand alone by the window and silently call to the spirit, just as Isabel told her to.

CEMETERY OF SPLENDOUR (Apichatpong Weerasethakul, 2015)

Soldiers with a mysterious sleeping sickness are transferred to a temporary clinic in a former school. The memory-filled space becomes a revelatory world for housewife and volunteer Jenjira, as she watches over Itt, a handsome soldier with no family visitors. Jen befriends young medium Keng who uses her psychic powers to help loved ones communicate with the comatose men. Doctors explore ways, including colored light therapy, to ease the men's troubled dreams. Jen discovers Itt's cryptic notebook of strange writings and blueprint sketches. There may be a connection between the soldiers' enigmatic syndrome and the mythic ancient site that lies beneath the clinic. Magic, healing, romance and dreams are all part of Jen's tender path to a deeper awareness of herself and the world around her.

DON'T LOOK NOW (Nicolas Roeg, 1973)

Some time after the drowning of their young daughter Christine (Sharon Williams) in an accident at their English country home, John Baxter (Donald Sutherland) and his grief-stricken wife Laura (Julie Christie) travel to Venice where John has accepted a commission from a bishop (Massimo Serato) to restore an ancient church. Laura encounters two elderly sisters, Heather (Hilary Mason) and Wendy (Clelia Matania), at a restaurant where she and John are dining; Heather claims to be psychic and—despite being blind—informs Laura she is able to "see" the Baxters' deceased daughter. Shaken, Laura returns to her table, then faints. Laura is taken to the hospital, where she later tells John what Heather told her. John is sceptical but pleasantly surprised by the positive change in Laura's demeanour. That evening after returning from the hospital, John and Laura have passionate sex. Afterwards, they go out to dinner, and en route get lost and briefly become separated. John catches a glimpse of a small figure wearing a red coat similar to the one Christine was wearing when she died. The next day, Laura meets with Heather and Wendy, who hold a séance to try to contact Christine. When she returns to the hotel, Laura informs John that Christine said he is in danger and must leave Venice. John argues with Laura, but that night they receive a telephone call informing them that their son (Nicholas Salter) has been injured in an accident at boarding school. Laura departs for England, while John stays on to complete the restoration. Shortly afterward, John is nearly killed in an accident at the church when the scaffold he is standing on collapses, and he interprets this as the "danger" foretold by the sisters. Later that day, assuming that Laura is in England, John is shocked when he spots her on a passing boat in a funeral cortege, accompanied by the sisters. Concerned about his wife's mental state and with reports of a serial killer at large in Venice, John reports Laura's seeming disappearance to the police. The inspector (Renato Scarpa) investigating the killings is suspicious of John and has him followed. After conducting a futile search for Laura and the sisters—during which he again sees the childlike figure in the red coat—John contacts his son's school to enquire about his condition, only to discover that Laura is actually there. After speaking to her to confirm she really is in England, a bewildered John returns to the police station to inform the police he has found his wife. In the meantime, the police have brought Heather in for questioning, and an apologetic John offers to escort her back to the hotel. Shortly after returning to the hotel, Heather slips into a trance. John quickly leaves. Upon coming out of the trance, Heather pleads with her sister to go after John, sensing that something terrible is about to happen, but Wendy is unable to catch up with him. Meanwhile, John catches another glimpse of the mysterious figure in red and this time pursues it. He corners the figure in a deserted palazzo and approaches, believing it to be a child. The figure turns to face him, revealing that it is a hideous female dwarf (Adelina Poerio). When John freezes in shock, the dwarf pulls out a meat cleaver and cuts his throat. Dying, John realises too late that the strange sightings he experienced were premonitions of his own murder and funeral.

THE TIME TO LIVE AND THE TIME TO DIE (Hou Hsiao-hsien, 1985)

Spanning the years 1947-65, the film follows the maturation of Ah-ha (Ah-hsiao) as he and his family (parents, grandmother, older sister, three brothers) cope with the shock of leaving their homeland (the grandmother keeps talking about returning to the mainland to visit the ancestors). Having been only a child during the move, Ah-ha quickly acclimatizes himself to the new country, often putting him at odds with his more traditional family; he joins a street gang and has to choose between that life and taking the college entrance exam.

MEET ME IN ST. LOUIS (Vincente Minnelli, 1944)

The backdrop for the film is St. Louis, Missouri, in the year preceding the 1904 Louisiana Purchase Exposition World's Fair. In the summer of 1903, the Smith family leads a comfortable upper-middle class life. Alonzo Smith and his wife Anna have four daughters: Rose, Esther, Agnes and Tootie, and a son, Lon Jr. Esther, the second-oldest daughter, is in love with the boy next door, John Truett, although he does not notice her at first. Tootie rides with iceman Mr. Neely and debates whether St. Louis is the nation's top city. Rose, the eldest daughter, hopes in vain to receive a marriage proposal from Warren Sheffield. Esther finally meets John properly when he is a guest at the Smiths' party and hopes to meet him again on a trolley ride to the construction site of the World's Fair. On Halloween, Tootie and Agnes attend a bonfire. Later, after Tootie appears with a split lip and lost tooth, she claims that John tried to kill her. Esther confronts John, physically attacking and scolding him. After Esther returns, Tootie and Agnes confess the truth: John was trying to protect them from the police after a dangerous prank went wrong. Upon learning the truth, Esther apologizes to John and they share their first kiss. Mr. Smith announces that he is to be sent to New York City on business and they will all move there after Christmas. The family is devastated by the news, especially Rose and Esther, whose romances, friendships and educational plans are threatened. Esther is also aghast because they will miss the World's Fair. Although Mrs. Smith is also upset, she reconciles with her husband and they sing a tender duet at the piano. Margaret O'Brien and Judy Garland in Meet Me in St. Louis An elegant ball takes place on Christmas Eve. John cannot take Esther because he was too late to pick up his tuxedo. Esther is relieved when her grandfather offers to take her to the ball instead. At the ball, Esther and Rose plot to ruin the evening of Warren's date Lucille Ballard by filling her dance card with losers. They are surprised to find that Lucille is warm, friendly, and not a snob. She suggests that Warren should be with Rose, allowing her to be with Lon. Esther switches her dance card with Lucille's and takes on the clumsy and awkward partners. After being rescued by Grandpa, Esther is overjoyed when John appears in a tuxedo and they dance for the rest of the evening. Later, John proposes to Esther and she accepts, but their future is uncertain because she must still move to New York. Esther returns home to find Tootie waiting impatiently for Santa Claus and worrying about whether she can bring all her toys with her to New York. After Esther's poignant rendition of "Have Yourself a Merry Little Christmas", an inconsolable Tootie destroys the snowmen that they must leave behind. Esther reassures Tootie that they will be together no matter where they go. Mr. Smith, who has witnessed the girls outside, begins to have second thoughts. After thinking in the living room, he summons the family downstairs and announces that they will not move to New York, much to everyone's surprise and joy. Warren rushes into the Smith home, declares his love for Rose, and announces that they will marry at the first possible opportunity. Realizing that it is now Christmas, the Smiths celebrate. At the World's Fair, the family gathers overlooking the Grand Lagoon just as thousands of lights around the grand pavilion are illuminated.

CLÉO FROM 5 TO 7 (Agnès Varda, 1962)

Singer Cléo Victoire is having a tarot card reading with a fortune teller, who tells her there is an evil force in Cléo's life, and that she sees a doctor with a hazardous task. She also sees a meeting with a talkative young man in her future. The fortune teller then pulls the hanged man card, meaning that a change to the worse in Cléo's life is about to happen, and asks if she is ill, which Cléo affirms. She then proceeds to pull the death card. Although the fortune teller emphasises that the death card can also simply mean a profound change in the person's life, Cléo believes that she is doomed. She asks the fortune teller to read her palm, who rejects her request. While distraught from her visit to the fortune teller, Cléo meets her maid, Angèle, at a café and recounts the results of the tarot card reading, claiming that if it's cancer, she'll kill herself. Cléo cries and the owner of the café gives her coffee to calm down. Cléo and Angèle proceed to go hat shopping, where Cléo buys a black fur hat, despite Angèle constantly reminding her that it's summertime. Cléo wants to wear the hat home, but Angèle reminds her that it's Tuesday, and it's bad luck to wear something new on a Tuesday. They have the shopkeeper send the hat to Cléo's home, and Cléo and Angèle take a taxi home in time for Cléo's rehearsal. On the ride home, one of Cléo's songs plays, and they listen to the radio, hearing current news coverage including the Algerian War. They have a conversation with the female taxi driver as she muses about the dangers of her job. Towards the end of the taxi ride, Cléo grows nauseous and attributes it to her illness. Upon returning home, Cléo cannot breathe, and Angèle tells her to do some exercise. Before Cléo's lover, the man whom the fortune teller mentioned earlier, enters the building, Angèle tells Cléo not to tell him that she's ill, because "men hate illness". Her lover, a very busy man, tells her that he only has time to stop by for a kiss and can't even go on a vacation with her, but will try to take her out on Friday. Asking Cléo if she is ill, she replies that she is, but he doesn't take her seriously. Once Cléo's lover leaves, Bob, a pianist, and Maurice, a writer, arrive at her home for her rehearsal. Bob and Maurice perform a spontaneous comedy routine pretending to be doctors once Angèle tells them that Cléo is ill, because "all women like a good joke." However, Cléo does not find their joke funny. Bob goes to the piano, and they begin to practice some of Cléo's songs. As they practice, Cléo's mood quickly darkens after singing the song "Sans toi." Cléo feels like all people do is exploit her and that it won't be long until she's just a puppet for the music industry. Saying that everyone spoils her but no one loves her, Cléo leaves everyone behind in her home. On the way to a café, Cléo passes a street performer swallowing frogs and spitting them back out on a huge wave of water. She plays one of her songs at a jukebox in the café and watches if the people around react to it, but no one does. She then goes to a sculpting studio to visit her old friend Dorothée, who is modelling nude for a class of sculptors. After the modelling session is over, Cléo tells Dorothée that she couldn't pose nude because she would feel exposed, while Dorothée claims that her body makes her happy, not proud. Dorothée picks up a package for her friend Raoul who lent her his car to take it to the cinema where he's working. On the way, Cléo tells Dorothée that she is waiting for a test result and afraid of being terminally ill. At the cinema, they watch a silent comedy film from the projection booth, starring Jean-Luc Godard and Anna Karina. In the film, Karina topples over a hose pipe and dies, leaving behind a grieving Godard, but after he takes off his sunglasses, realising that it was only his dark glasses which made the events appear so gloomily, the scene repeats in a much lighter tone. Leaving the cinema, Cléo accidentally breaks a mirror, which she claims is a bad omen. Together with Dorothée she passes the café that she visited earlier, learning that a man was killed there. They enter a taxi, and Dorothée tells her that the broken mirror was meant for that man, not Cléo. After having dropped Dorothée off, Cléo has the taxi driver take her to Parc Montsouris. In the park, Antoine, a soldier on leave from the Algerian War, addresses Cléo and tells her that today is the longest day of the year. During their conversation, Cléo tells him that her real name is Florence, and that she's afraid of her illness, while the sensitive Antoine reflects on the war, where people die for nothing, and that this scares him. He asks her to accompany him to the train station to return to the war if he accompanies her to the hospital to get her test results. At the hospital, the doctor whom Cléo had her appointment with for her results has already left. While sitting on a bench outside, the doctor rolls by in his car and tells Cléo that her condition is not too serious and that two months of radiotherapy will help her to get better. Cléo says that her fear seems to be gone, and she seems happy. Antoine says that he hates to leave, and that he would like to be with Cléo. She tells him that he is with her at this moment, and they smile at each other.

KILLER OF SHEEP (Charles Burnett, 1977)

Stan works long hours at a slaughterhouse in Watts, Los Angeles. The monotonous slaughter affects his home life with his unnamed wife and his two children, Stan Jr. and Angela. Through a series of confusing episodic events—some friends try to involve Stan in a criminal plot, a white woman propositions Stan to work in her store, and Stan and his friend Bracy attempt to buy a car engine—a mosaic of an austere working-class life emerges in which Stan feels unable to affect the course of his life.

THE CONVERSATION (Francis Ford Coppola, 1974)

Surveillance expert Harry Caul runs a private company in San Francisco offering wiretapping services. In the opening scene, Caul, his colleague Stan, and some freelance associates are bugging the conversation of a couple as they walk through crowded Union Square. Against a cacophony of background noise, the couple discusses their fear that they are being watched and mention a discreet meeting at a hotel in a few days. Later, Caul filters and merges the three tapes recorded from different points by his operatives; the result is a clear recording whose meaning is ambiguous. Caul is obsessed with his own privacy: his apartment is almost bare behind its triple-locked door and burglar alarm, he uses pay phones to make calls, and his office is enclosed in a chain-link cage in a corner of a much larger warehouse. He has no friends, his girlfriend Amy knows nothing about him, and his sole hobby is playing along to jazz records on a tenor saxophone alone in his apartment. He insists that he is not responsible for the content of the conversations he records or the use to which his clients put his surveillance, but he is wracked with guilt about a past job that was followed by the murders of three people. His sense of guilt is amplified by his devout Catholicism. Caul attempts to deliver the recording but his client, referred to only as "the Director", is not in his office. Caul refuses to leave the tape with his client's assistant, Martin Stett, who warns him against getting involved and tells Caul that the tapes are "dangerous." After refusing to turn over the tapes, Caul sees both the man and the woman in the building. Increasingly uneasy about what may happen to the couple, Caul repeatedly replays and refines the recording. Using a filter, he uncovers a key phrase hidden under the sound of street musicians: "He'd kill us if he got the chance." Caul avoids turning the tape over to Stett, and soon comes to believe that he is being followed, tricked, and bugged. Soon, the tape is stolen; Caul receives a call from Stett, who tells him the Director couldn't wait any longer. He visits the Director, and learns that the woman in the recording is the Director's wife and is apparently having an affair with the man. Caul books a hotel room next to one mentioned in the recording, and uses equipment to overhear the Director in a heated argument with his wife. When he goes to the balcony, he sees a bloody hand slam against the glass partition; believing he was witnessing the wife being murdered, he retreats in shock. He later breaks into the hotel room to find no sign of the murder, except for the toilet, which overflows with bloody water when he flushes it (which may or may not be his imagination). Caul attempts to confront the Director at his office but is told he is absent. While leaving, Caul notices the wife, alive and unharmed, in a limousine. He later sees a newspaper headline about an executive killed in a car accident, and realizes the truth: the couple he heard was plotting the murder of the woman's husband, and Caul witnessed the murder of the Director himself. Caul gets a phone call from Stett, who tells him not to look into the matter, adding "We'll be listening to you" before playing a recording of Caul's saxophone from seconds earlier. Caul frantically searches for a listening device, tearing up his entire apartment, to no avail. He sits amid the wreckage playing his saxophone, the only thing in his apartment left intact.

À NOS AMOURS (Maurice Pialat, 1983)

Suzanne, a 15-year-old Parisian girl, lives with her volatile, abusive family: her furrier parents and older brother Robert, a writer. She's dating a boy named Luc, who complains about not seeing her as much as he would like. At a cafe, Suzanne mingles with sailors and an American visitor. She and the American head outdoors and have sex, though the experience leaves her miserable. She tells a friend she regrets her unfaithfulness to Luc, but she breaks up with him and becomes increasingly promiscuous. Her father is close to Suzanne but reacts with suspicion and violence when Suzanne goes on a double date with her cousin Solange. When Suzanne returns, her father expresses concern with her changing demeanor, saying she smiles less and seems increasingly bored. He also discloses he has found another woman and is planning to leave the family. Several days later, Robert tells Suzanne their father has left, and Robert assumes management of the household. Suzanne continues her affairs, though she admits she is unable to feel love. Her mother is desperately unhappy and grows increasingly frustrated with Suzanne's skimpy clothes, her letters from boys, and her attitude at home. Her brother and mother both beat Suzanne during family arguments. Luc returns to Suzanne and asks her to resume their relationship; she refuses. Miserable, Suzanne asks Robert to send her to boarding school, saying she can no longer tolerate home life and has contemplated suicide. She says she is only happy when she is with a man; Robert professes an inability to understand this. Back in Paris, Suzanne begins a more serious relationship with a young man named Jean-Pierre. While she still says she is unable to feel love, she becomes engaged. Luc reappears and begs her to cancel the wedding. Though she confesses she has considered doing that, she tells him that Jean-Pierre provides her with inner peace for the first time. At a celebratory dinner party, the father unexpectedly shows up, questioning the happiness of the family and revealing Suzanne has been visiting him. He later shows up to see Suzanne leave for her honeymoon, but with another man, leaving Jean-Pierre behind.

SUSPIRIA (Dario Argento, 1977)

Suzy Bannion, a young American ballet student, arrives in Freiburg, Baden-Württemberg, Germany during a torrential downpour to study at the co-ed Tanz Akademie, a prestigious German dance school. She sees another student, Pat Hingle, flee the school in terror. Suzy is refused entry to the school and forced to stay in town overnight. Pat takes refuge at a friend's apartment and tells her that something sinister happened at the school. Pat is ambushed by a shadowy figure who stabs her repeatedly and drags her to the roof of the apartment building before hanging her with a noose by throwing her through the building's skylight. Pat's friend is also killed after being impaled by a falling giant shard of glass while trying to alert other tenants to the murder. Suzy returns to the school the next morning, where she meets Miss Tanner, the head instructor, and Madame Blanc, the deputy headmistress. Tanner introduces Suzy to Pavlos, one of the school's servants. She also meets classmates Sara and Olga, her new roommate. Suzy experiences an unsettling encounter with one of the school's matrons and Blanc's nephew, Albert, before passing out during a dance class. When she regains consciousness, Suzy learns that Olga has thrown her out of her apartment, forcing her to live at the school with Sara in the room next door. While the students are preparing for supper one night, maggots rain down from the ceilings of their rooms due to a shipment of spoiled food in the attic, forcing them to sleep in one of the dance studios. During the night, a woman enters the room but is obscured by a curtain hung around the room's perimeter. Sara, frightened by her hoarse and labored breathing, recognizes her as the school's headmistress, who is supposedly out of town. The next day, the school's blind pianist, Daniel, is abruptly fired by Miss Tanner when his German Shepherd bites Albert. Daniel is stalked by an unseen force while walking through a plaza that night; his dog turns on him and viciously rips out his throat. Sara tells Suzy that she was the one on the intercom who refused her entry the night Pat was murdered. She reveals that Pat was behaving strangely before her death and promises to show Suzy the notes that she left behind. Sara finds that Pat's notes are missing and is forced to flee when an unseen assailant enters the room. They pursue her through the school before cornering her in the attic. She escapes through a small window before falling into a pit of razor wire, entangling her and allowing her pursuer to kill her by slashing her throat. Suzy investigates Sara's disappearance the next morning. Tanner tells her that Sara has fled the school. Suspicious, Suzy contacts Sara's friend and former psychiatrist, Frank Mandel. He reveals that the school was established by Greek émigrée Helena Markos in 1895, who was allegedly a witch. Suzy also consults with Professor Milius, a professor of the occult. He reveals that a coven of witches perishes without their leader, from whom they draw power. When Suzy returns to the school, she finds that everyone has left to attend the Bolshoi Ballet. After being attacked by a bat and recalling a conversation with Sara about footsteps, she follows the sound of them carefully, leading her to Madame Blanc's office. Remembering that Pat uttered the words secret and iris the night that she was killed, Suzy discovers a hidden door that opens by turning a blue iris on a mural in Blanc's office. Suzy enters the corridor and finds the academy's instructors, led by Madame Blanc, plotting her demise in the form of a human sacrifice. Albert alerts Pavlos to Suzy's presence. Suzy hides in an alcove, where she finds Sara's disfigured corpse. Pursued by Pavlos, Suzy retreats to Helena Markos's bedroom. Suzy finds Markos sleeping, recognizing her as the headmistress by her labored breathing. She accidentally wakes her by breaking a decorative peacock with crystal plumage. Markos renders herself invisible and taunts Suzy before reanimating Sara's mutilated corpse to murder her. When flashes of lightning inadvertently reveal Markos's silhouette, Suzy impales her through the neck with one of the peacock's broken glass quills. Markos's death causes Sara's corpse to vanish. Suzy flees as the school starts to implode. Madame Blanc, Miss Tanner, Pavlos and the rest of the coven perish without the power of Markos to sustain them. Suzy escapes into the rainy night as the school is consumed by fire.

BELLE DE JOUR (Luis Buñuel, 1967)

Séverine Serizy (Catherine Deneuve), a young and beautiful housewife, is unable to share physical intimacy with her husband, Dr. Pierre Serizy (Jean Sorel), despite their love for each other. Her sexual life is restricted to elaborate fantasies involving domination, sadomasochism, and bondage. Although frustrated by his wife's frigidity toward him, he respects her wishes. While visiting a ski resort, they meet two friends, Henri Husson (Michel Piccoli) and Renée (Macha Méril). Séverine does not like Husson's manner and the way he looks at her. Back in Paris, Séverine meets up with Renée and learns that a common friend, Henriette, now works at a brothel. At her home, Séverine receives roses from Husson and is unsettled by the gesture. At the tennis courts, she meets Husson and they discuss Henriette and houses of pleasure. Husson mentions a high-class brothel to Séverine at 11 Cité Jean de Saumur. He also confesses his desire for her, but Séverine rejects his advances. Haunted by childhood memories, including one involving a man who appears to touch her inappropriately, Séverine goes to the high-class brothel, which is run by Madame Anaïs (Geneviève Page), who names her "Belle de Jour." That afternoon Séverine services her first client. Reluctant at first, she responds to the "firm hand" of Madame Anaïs and has sex with the stranger. After staying away for a week, Séverine returns to the brothel and begins working from two to five o'clock each day, returning to her unsuspecting husband in the evenings. One day, Husson comes to visit her at home, but Séverine refuses to see him. Still, she fantasizes about having sex with him in her husband's presence. At the same time, Séverine's physical relationship with her husband is improving and she begins having sex with him. Séverine becomes involved with a young criminal, Marcel (Pierre Clémenti), who offers her the kind of thrills and excitement of her fantasies. When Marcel becomes increasingly jealous and demanding, Séverine decides to leave the brothel, with Madame Anaïs's agreement. Séverine is also concerned about Husson, who has discovered her secret life at the brothel. After one of Marcel's associates follows Séverine to her home, Marcel visits her and threatens to reveal her secret to her husband. Séverine pleads with him to leave, which he does, referring to her husband as "the obstacle". Marcel waits downstairs for Pierre to return home and shoots him three times. Marcel then flees but is shot dead by police. Séverine's husband survives but is left in a coma. The police are unable to find a motive for the attempted murder. Sometime later Séverine is at home taking care of Pierre, who is now paralysed, blind and in a wheelchair. Husson visits Pierre to tell him the truth about his wife's secret life; she does not try to stop him. After Husson leaves, Séverine returns to see Pierre crying. In an ambiguous ending which is hinted to be another of her fantasies, Pierre then gets out of the wheelchair, pours himself a drink and discusses holiday plans with Séverine.

GUN CRAZY (Joseph H. Lewis, 1950)

Teenager Barton "Bart" Tare gets caught breaking a hardware store window to steal a gun. He is sent to reform school for four years despite the supportive testimony of his friends Dave and Clyde, his older sister Ruby and others. They claim he would never kill any living creature, even though he has had a fascination with guns even as a child. Flashbacks provide a portrait of Bart who, after killing a young chick with a BB gun at age seven, is hesitant to shoot at anything, even a mountain lion with a bounty on its head. However, he is a dead shot with a handgun. After reform school and a stint in the Army teaching marksmanship, Bart returns home. He, Dave, and Clyde go to a traveling carnival in town. Once there, Bart challenges sharpshooter Annie Laurie Starr ("Laurie") to a contest and wins. She gets him a job with the carnival and he becomes smitten with her. Their mutual attraction inflames the jealousy of their boss, Packett, who wants her for himself. When Packett tries to force himself on her, Bart fires a warning shot within an inch of his nose. Packet fires the couple, who leave together. Before they marry, Laurie warns Bart that she is "bad, but will try to be good". They embark on a carefree honeymoon on Bart's savings. When the money runs out, though, she gives Bart a stark choice: join her in a career of crime or she will leave him. They hold up stores and gas stations, but the paltry take does not last long. While fleeing a police car Laurie tells Bart to shoot at the driver so they can escape, but he hesitates and becomes disoriented. Ultimately, he shoots the tire out and the car crashes. Later that day, at another robbery, Laurie intends to shoot and kill a grocer, but Bart stops her in time. The couple have now been identified in national newspapers as notorious robbers. Bart says he is done with a life of crime. Laurie persuades him to take on one last big robbery so they can flee the country and live in peace and comfort. They get jobs at a meat processing plant and make detailed plans. When they hold up the payroll department, the office manager pulls the burglar alarm and Laurie shoots her dead. While fleeing the plant, Laurie also kills a security guard. Bart does not realize at the time that both victims are dead, but learns about it later from a newspaper. Laurie then discloses she shot a man dead in St. Louis while she and Packett were attempting a hold-up. She claims that those murders happen because the fear makes her unable to think straight in the moment. To minimize the chances of being caught, the two decide to split up for a couple of months, but neither can bear to be away from the other. The FBI is brought in, and the fugitives become the targets of an intense manhunt. In California, Bart arranges for passage to Mexico, when the FBI finds them in a dance hall. Forced to flee, they leave all their loot behind. With roadblocks everywhere, they jump on a train and get off near Ruby's house. Clyde, then the local sheriff, notices that the house has the curtains drawn and the children are not in school. He informs Dave, and the two plead with Bart to give himself and Laurie up. Instead, the couple flee into the mountains. Pursued by police dogs, they are surrounded in reed grass the next morning. In dense fog, Dave and Clyde approach to try to reason with them. As soon as Bart sees Laurie preparing to gun them down, he shoots her and is, in turn, killed by the police.

THE WIZARD OF OZ (Victor Fleming, 1939)

Teenager Dorothy Gale lives on a Kansas farm owned by her Uncle Henry and Aunt Em. When Dorothy's dog Toto bites the wealthy Almira Gulch, Miss Gulch obtains a sheriff's order authorizing her to seize the dog to be euthanized. Toto escapes and returns to Dorothy, who runs away to protect him. Professor Marvel, a charlatan fortune-teller, tells Dorothy to go home because Aunt Em is heartbroken. Dorothy returns just as a tornado approaches the farm. Unable to get into the locked storm shelter, Dorothy takes cover in the farmhouse and is knocked unconscious by the violence of the storm. The tornado then lifts the house and drops it into an unknown land. Dorothy awakens and is greeted by a good witch named Glinda, who explains to Dorothy that she is in Munchkinland in the land of Oz. The Munchkins are celebrating because the house landed on the Wicked Witch of the East. Her sister, the Wicked Witch of the West, appears in a puff of smoke. Before she can seize her deceased sister's ruby slippers, Glinda magically transports them onto Dorothy's feet and tells her to keep them on, as they must be very powerful. Because the Wicked Witch has no power in Munchkinland, she leaves in another puff of smoke, but only after telling Dorothy, "I'll get you, my pretty, and your little dog too!" Glinda knows of only one person who might know how to help Dorothy return home: The Wizard of Oz. Dorothy is directed to follow the yellow brick road that goes to the Emerald City, the Wizard's home. Along the way, she meets the Scarecrow, who wants a brain; the Tin Man, who wants a heart; and the Cowardly Lion, who wants courage. The foursome and Toto eventually reach the Emerald City, despite the best efforts of the Wicked Witch. Dorothy is initially denied an audience with the Wizard by his doorman. The doorman relents on hearing that they were sent by Glinda, and the four are led into the Wizard's chambers. The Wizard appears as a giant ghostly head and tells them he will grant their wishes if they bring him the Wicked Witch's broomstick. During their quest, Dorothy and Toto are captured by flying monkeys and taken to the Wicked Witch, but the ruby slippers protect her. The Scarecrow, Tin Man, and Cowardly Lion free Dorothy, but are pursued by the Witch and her guards. They are cornered by the Witch, who sets fire to the Scarecrow. When Dorothy throws a bucket of water onto the Scarecrow, she inadvertently splashes the Witch, which causes her to melt away. The Witch's guards gratefully give Dorothy her broomstick. The four return to the Wizard, but he tells them to return tomorrow. When Toto pulls back a curtain, the Wizard is revealed to be just an ordinary man, operating machinery that projects the ghostly image of his face. The four travelers confront him, upon which he confesses that he, like Dorothy, accidentally arrived in Oz from America. He then "grants" the wishes of Dorothy's three friends by giving them tokens that symbolize that they always had the qualities they sought. The Wizard offers to take Dorothy back to Kansas with him aboard his hot air balloon. However, after Toto jumps off and Dorothy goes after him, the balloon accidentally lifts off with just the Wizard aboard. Glinda reappears and tells Dorothy she always had the power to return to Kansas with the help of the ruby slippers, but had to find that out for herself. After sharing a tearful farewell with her friends, Dorothy heeds Glinda's instructions by tapping her heels three times and repeating the words, "There's no place like home." She is transported back to Kansas. She awakens in her bed with a washcloth on her injured head and is attended to by her aunt, uncle and the farm hands. Professor Marvel stops by as Dorothy describes Oz, telling the farm hands and the Professor they were there too. (The actors who portrayed Marvel and the farmhands also played the characters in Oz.) Unfazed by their disbelief, Dorothy gratefully exclaims, "There's no place like home!"

SPIRITED AWAY (Hayao Miyazaki, 2001)

Ten-year-old Chihiro Ogino and her parents are traveling to their new home. Her father decides to take a shortcut and stops in front of a tunnel leading to what appears to be an abandoned amusement park, which Chihiro's father insists on exploring despite his daughter's protests. They find a restaurant stocked with food, which Chihiro's parents begin to eat. While exploring alone, Chihiro finds a bathhouse and meets a boy named Haku, who warns her to leave. However, Chihiro discovers that her parents have become pigs, and the exit is blocked. Haku finds Chihiro and leads her toward the bathhouse. She sees several animals and creatures visiting the bathhouse, as well as No-Face (Kaonashi 顔無し), a masked spirit. Haku instructs her to ask for a job from the bathhouse's boiler-man, Kamaji, a yōkai commanding the susuwatari. Kamaji says that he already has enough susuwatari to help him. After Chihiro tries to help but inadvertently causes some disruption, Kamaji asks a worker named Lin to send Chihiro to Yubaba, the witch who runs the bathhouse. Lin leads her to the top floor to find the witch. Yubaba tries to frighten Chihiro away, but Chihiro persists. Eventually, Yubaba reveals she took an oath to give work to anyone who asks for it, and gives Chihiro a working contract. Yubaba takes away the second kanji of her name (千尋), renaming her Sen (千). Haku reveals he is also working for Yubaba, and takes her back downstairs. The bathhouse workers dislike Sen, but give her work as Lin's assistant. Later that night, when Yubaba leaves, Haku finds Sen and shows her her parents, who are being held in pigpens. Haku explains that Yubaba controls people by taking their names; if she completely forgets hers like he once did, she will never be able to leave the spirit world. Sen is ostracized by the other workers. While working, she invites No-Face inside, believing him to be a customer. The spirit of a polluted river arrives as Sen's first customer. Sen discovers a bicycle handle sticking out of him, and the workers help to remove the bicycle and a large amount of garbage. He gives her a magic emetic dumpling as a token of gratitude. Meanwhile, No-Face imitates the gold left behind by the river spirit and tempts a worker with it before swallowing him. He demands food from the bathhouse and begins giving away extensive amounts of gold to its workers. Sen sees paper shikigami attacking a dragon and recognizes the dragon as Haku metamorphosed. When he crashes into Yubaba's penthouse with grievous injuries, Sen follows him upstairs. A shikigami stows away on her back. No-Face is given large amounts of food, but soon begins eating more workers. In the penthouse, the stowaway shikigami shapeshifts into Yubaba's sister Zeniba, who turns Yubaba's son, Boh, into a mouse. Sen, Haku and Boh fall into the boiler room. Sen feeds Haku part of the emetic dumpling, causing him to vomit up a seal he stole, saving him from its deadly curse. Sen resolves to return the seal and apologize to Zeniba, taking Boh with her. She confronts an engorged No-Face, who reveals he is very lonely. Sen feeds No-Face the rest of the dumpling and he follows Sen out of the bathhouse, steadily regurgitating everything that he has eaten. Lin takes Sen to the station to see Zeniba, and Sen invites No-Face to follow, despite Lin's protests. Sen, No-Face, and Boh travel with train tickets given to Sen by Kamaji. Meanwhile, Yubaba orders that Sen's parents be slaughtered, but Haku reveals that Boh is missing. Haku offers to retrieve Boh if Yubaba releases Sen and her parents. Yubaba agrees, but only if Sen can pass a final test. Sen meets with Zeniba, who makes her a magic hairband. Haku appears in dragon form, and Sen, Boh, and Haku leave for the bathhouse, leaving No-Face with Zeniba. Mid-flight, Sen discovers Haku's identity as the spirit of the Kohaku River (ニギハヤミ コハクヌシ, Nigihayami Kohakunushi). When they arrive, Sen passes Yubaba's test to identify her parents, and she is allowed to leave. Haku vows to see her again, but she leaves the city with her parents, who do not remember anything after the restaurant.

OUR HOSPITALITY (Buster Keaton & John G. Blystone, 1923)

The Canfield and McKay families have been feuding for so long, no one remembers the reason the feud started in the first place. One stormy night in 1810, family patriarch John McKay and his rival James Canfield kill each other. After the tragic death of her husband, John's wife decides her son Willie will not suffer the same fate. She moves to New York to live with her sister, who after the mother's death raises him without telling him of the feud. Twenty years later, Willie receives a letter informing him that his father's estate is now his. His aunt tells him of the feud, but he decides to return to his Southern birthplace anyway to claim his inheritance. On the train ride, he meets a girl, Virginia. They are shy to each other at first, but become acquainted during many train mishaps. At their destination, she is greeted by her father and two brothers; she, it turns out, is a Canfield. Willie innocently asks one of the brothers where the McKay estate is. The brother offers to show him the way, but stops at every shop in search of a pistol to shoot the unsuspecting Willie. By the time he obtains one, Willie has wandered off. Willie is very disappointed to discover the McKay "estate" is a rundown home, not the stately mansion he had imagined. Later, however, he encounters Virginia, who invites him to supper. When he arrives, the brothers want to shoot him, but the father refuses to allow it while he is a guest in their mansion, referring to this as "our hospitality". When Willie overhears a conversation between the brothers, he finally realizes his grave predicament. A parson comes to supper as well, but as he prepares to leave, he finds it is furiously raining outside. The Canfield patriarch insists the parson stay the night, while McKay invites himself to do the same. The next morning, McKay stays inside the house, while the Canfield men wait for his departure. McKay finally manages to leave by putting on a woman's dress as a chase ensues. Eventually, he starts down a steep cliff side, but is unable to find a way to the bottom. One Canfield lowers a rope (so he can get a better shot) to which Willie ties himself, but the Canfield falls into the water far below, dragging Willie along. Finally, Willie manages to steal the train locomotive and tender, but the tender derails, dumping him into the river towards the rapids. Virginia spots him and goes after him in a rowboat; she falls into the water and is swept over the edge of the large waterfall. McKay swings trapeze-like on a rope, catching her hands in mid-fall and depositing her safely on a ledge. When it grows dark, the Canfield men decide to continue their murderous search the next day. Returning home, they see Willie and Virginia embracing; Joseph Canfield furiously rushes into the room, gun in hand. He is brought up short by the parson, who asks him if he wishes to kiss the bride. Seeing a hanging "love thy neighbor" sampler, the father decides to bless the union and end the feud. The Canfields place their pistols on a table; Willie then divests himself of the many guns he took from their gun cabinet.

THE COLOUR OF POMEGRANATES (Sergei Parajanov, 1969)

The Color of Pomegranates is a biography of the Armenian ashug Sayat-Nova (King of Song) that attempts to reveal the poet's life visually and poetically rather than literally. The film is presented with little dialogue using active tableaux which depict the poet's life in chapters: Childhood, Youth, Prince's Court (where he falls in love with a tsarina), The Monastery, The Dream, Old Age, The Angel of Death and Death.[6] There are sounds and music and occasional singing but dialogue is rare.[8] Each chapter is indicated by a title card and framed through both Sergei Parajanov's imagination and Sayat Nova's poems. Actress Sofiko Chiaureli notably plays six roles in the film, both male and female.[9] According to Frank Williams, Parajanov's film celebrates the survival of Armenian culture in face of oppression and persecution, "There are specific images that are highly charged—blood-red juice spilling from a cut pomegranate into a cloth and forming a stain in the shape of the boundaries of the ancient Kingdom of Armenia; dyers lifting hanks of wool out of vats in the colours of the national flag, and so on".[10] Parajanov, the director, said his inspiration was "the Armenian illuminated miniature," and that he "wanted to create that inner dynamic that comes from inside the picture, the forms and the dramaturgy of colour."[11] He also described this film as a series of Persian miniatures.[12] His close friend Mikhail Vartanov has maintained that Parajanov's misunderstood cinematic language is "simple and only appears to be complex",[13] and he partly demystified it in Parajanov: The Last Spring.[14] Some Russian versions of The Color of Pomegranates have Special Edition features.[15] The Memories of Sayat Nova, by Levon Grigoryan, is a 30-minute synopsis that explains what is happening in the tableaux and in each chapter of the poet's life. G. Smalley asserts that every carefully composed image in The Color of Pomegranates is coded to a meaning, but the key to interpreting them is missing. He agrees with Parajanov that "If someone sat down to watch The Color of Pomegranates with no background, they would have no idea what they were seeing."[16] The making of the film and its different versions are explored in the other special features: "Introduction" by writer and filmmaker Daniel Bird; The World Is A Window: Making The Colour of Pomegranates—a new documentary by Daniel Bird; and "Commentary" by Levon Abrahamyan, moderated by Daniel Bird.

THE HOUSE IS BLACK (Forugh Farrokhzad, 1963)

The House Is Black (Persian: خانه سیاه است) is an acclaimed Iranian documentary short film directed by Forugh Farrokhzad. The film is a look at life and suffering in a leper colony and focuses on the human condition and the beauty of creation.[1][2] It is spliced with Farrokhzad's narration of quotes from the Old Testament, the Koran and her own poetry. The film features footage from the Bababaghi Hospice leper colony.[3] It was the only film she directed before her death in 1967. After shooting this film she adopted a child from the colony.[4][5] Although the film attracted little attention outside Iran when released, it has since been recognized as a landmark in Iranian film. Reviewer Eric Henderson described the film as "[o]ne of the prototypal essay films, The House Is Black paved the way for the Iranian New Wave."[6] In 1963, the film was awarded the grand prize for the category documentary at the International Short Film Festival Oberhausen in West Germany.[7]

YI YI (Edward Yang, 2000)

The Jian family - father NJ, mother Min-Min, daughter Ting-Ting, son Yang-Yang - is a middle-class family in Taipei. At the wedding of Min-Min's brother A-Di, NJ runs into ex-girlfriend Sherry, who gives him her number before leaving. Sherry is married to an American and lives in Chicago. After the reception, Min-Min's mother, who lives with the family, suffers a stroke that leaves her comatose. She is put on life support and the doctor urges the Jians to talk to her daily. NJ is dissatisfied with his job and his company is struggling financially. To secure a client named Mr. Ota, NJ's colleagues ask him to take Ota out for dinner, which he reluctantly agrees to do. They get along well and NJ takes Ota to a bar, where he sings and plays the piano. That night, NJ phones and leaves a message for Sherry, apologizing for leaving her abruptly 30 years ago. Meanwhile, Min-Min becomes depressed by her mother's condition and leaves for a remote Buddhist retreat. After a failed investment, A-Di is kicked out of the house and asks his ex-girlfriend Yun-Yun for help. A-Di is allowed to return upon the birth of his child but a fight breaks out at the baby shower when Yun-Yun shows up uninvited. A-Di and his wife reconcile after she discovers him passed out due to a gas leak at their house. Ting-Ting feels guilty because her grandmother collapsed when she was taking out the trash Ting-Ting was supposed to take out. She befriends her new neighbor, Lili. After Lili breaks up with her boyfriend Fatty, he begins to relay letters for Lili to Ting-Ting. Fatty soon becomes attracted to Ting-Ting and asks her out. After their second date, the two check into a hotel room but they hesitate and leave. Later, Ting-Ting sees Lili back together with Fatty and is later berated by Fatty himself. Ting-Ting becomes depressed and talks to her grandmother, asking her to wake up. She learns the next day that Fatty has been arrested for killing Lili's teacher, who was in a sexual relationship with both Lili and her mother. At home, Ting-Ting dreams of being comforted by her grandmother. Unwilling to speak to his grandmother because he feels like she can't hear him, Yang Yang starts taking photographs. To punish him for leaving school to buy film, Yang-Yang is forced to face a wall while his teacher circulates his photographs among the other students. Later, after seeing the girl who torments him because she likes him swimming, Yang-Yang teaches himself how to swim to learn more about his tormenter. NJ is sent by his company to Tokyo to continue talks with Ota; Sherry also flies to Japan. The two reunite and recount their past; Sherry remains affected by NJ's abrupt departure and NJ attempts to resolve their tensions. They travel to another city and check into a hotel, but when NJ insists on separate rooms, Sherry berates him and breaks down. They return to Tokyo and check back into their respective rooms; before leaving, NJ tells Sherry that he has never loved anyone else. The next day, NJ is informed by his colleague that they have secured a deal with another client and he is to return to Taipei immediately. In response, NJ berates his colleague for abandoning Ota. Later, NJ goes to check on Sherry's room, learning that she has already checked out. Upon her mother's death, Min-Min returns home and is reunited with her family. At the funeral, NJ's colleague urges him to come back to work but he refuses. Yang-Yang recites a poem in front of her shrine. He recounts their time together, his hope of finding where she went, and a desire to "tell people what they don't know, show them what they can't see." He concludes his poem by saying how his newborn cousin reminds him of her, always saying she's old, as he always wanted to say along with her, "I am old too."

PARASITE (Bong Joon-ho, 2019)

The Kim family live in a semi-basement flat (banjiha) in Seoul, have low-income jobs, and struggle for money. Min-hyuk, a university student, gives the family a scholar's rock meant to promise wealth. Leaving to study abroad, he suggests that the Kims' son, Ki-woo, pose as a university student to take over his job as an English language tutor for Da-hye, the daughter of the rich Park family. After his sister Ki-jung helps create a false certificate for him in Photoshop, Ki-woo, posing as a Yonsei University student, is subsequently hired by the Park family. The Kim family schemes to get each member a job with the Park family. The Kim daughter, Ki-jung, poses as "Jessica" and, using Ki-woo as a reference, becomes an art therapist to the Parks' young son, Da-song. Ki-jung frames Yoon, Mr Park's driver, by making it appear he had a sexual encounter in the car, then recommends her father, Ki-taek, to replace him. The Kims exploit the peach allergy of the Parks' long-time housekeeper, Moon-gwang, to convince Mrs Park that she has tuberculosis, and the Kim mother, Chung-sook, is hired to replace her. Ki-woo begins a secret romantic relationship with Da-hye. When the Parks leave on a camping trip, the Kims revel in the luxuries of the house. Moon-gwang appears at the door, telling Chung-sook she left something in the basement. She goes through a hidden entrance to an underground bunker created by the architect and previous homeowner. There, Moon-gwang's husband, Geun-sae, has been secretly living for over four years, hiding from loan sharks. Chung-sook refuses Moon-gwang's pleas to help Geun-sae remain in the bunker, but the eavesdropping Kims accidentally reveal themselves. Moon-gwang videotapes them on her phone and threatens to expose their ruse to the Park family. The Parks call to say that they'll return early due to a severe rainstorm. The Kims scramble to clean up the house and subdue Moon-gwang and Geun-sae, trapping them in the bunker. Ki-jung, Ki-taek and Ki-woo hide under a table, and overhear Mr Park's comments about Ki-taek's odour. The Kims escape and find their flat flooded with sewer water, and take shelter in a gymnasium with other displaced people. The next day, Mrs Park hosts a house party for Da-song's birthday with the Kim family's assistance. Ki-woo enters the bunker to find Geun-sae. Finding Moon-gwang has died from a concussion she received during the brawl, he is attacked by a deranged Geun-sae who escapes, leaving Ki-woo lying in a pool of blood. Seeking to avenge Moon-gwang, Geun-sae stabs Ki-jung with a kitchen knife in front of the horrified guests. Da-song suffers another traumatic seizure upon seeing Geun-sae, whom Da-song once saw as a "ghost" emerging from the basement on the night of a previous birthday. A struggle breaks out until Chung-sook fatally impales Geun-sae with a barbecue skewer. While Ki-taek tends to Ki-jung, Mr Park orders Ki-taek to drive Da-song to the hospital. In the chaos, Ki-taek, upon seeing Mr Park's disgusted reaction to Geun-sae's odour, angrily kills him with the knife. Ki-taek flees, leaving the rest of the Kim family behind. Weeks later, Ki-woo is recovering from a brain operation. He and Chung-sook are convicted of fraud and put on probation. Ki-jung has died from her injuries, and Ki-taek, wanted by the authorities, cannot be found. Geun-sae is assumed to have been an insane homeless man, and neither his nor Ki-taek's motive for the murders are known. Ki-woo spies on the Parks' home, now occupied by a Swiss family (although Ki-taek thinks they are Germans) unaware of the house's history, and sees a message in Morse code from a flickering light. Ki-taek, who escaped into the bunker, has buried Moon-gwang in the garden and sends the message every day, hoping Ki-woo will see it. Still living in their basement flat with his mother, Ki-woo writes a letter to Ki-taek, vowing to earn enough money to buy the house and reunite with his father.

ERASERHEAD (David Lynch, 1977)

The Man in the Planet is moving levers in his home in space, while the head of Henry Spencer floats in the sky. A spermatozoon-like creature emerges from Spencer's mouth, floating into the void. In an industrial cityscape, Spencer walks home with his groceries. He is stopped outside his apartment by the Beautiful Girl Across the Hall, who informs him that his girlfriend, Mary X, has invited him to dinner with her family. Spencer leaves his groceries in his apartment, which is filled with piles of dirt and dead vegetation. That night, Spencer visits X's home, conversing awkwardly with her mother. At the dinner table, he is asked to carve a chicken that X's father has "made"; the bird moves and writhes on the plate and gushes blood when cut. After dinner, Spencer is cornered by X's mother, who tries to kiss him. She tells him that X has had his child and that the two must marry. X, however, is not sure if what she bore is a child. The couple move into Spencer's one-room apartment and begin caring for the child—a swaddled bundle with an inhuman, snake-like face, resembling the spermatozoon-like creature seen earlier. The infant refuses all food, crying incessantly and intolerably. The sound drives X hysterical, and she leaves Spencer and the child. Spencer attempts to care for the child, and he learns that it struggles to breathe and has developed painful sores. Spencer begins experiencing visions, again seeing the Man in the Planet, as well as the Lady in the Radiator, who sings to him as she stomps upon miniature replicas of Spencer's child. After a sexual encounter with the Beautiful Girl Across the Hall, Spencer has another vision: the Lady in the Radiator sings ("In Heaven Everything Is Fine") as Spencer watches his own head fall off, revealing a stump underneath that resembles the child's face. Spencer's head falls from the sky, landing on a street and breaking open. A boy finds it, bringing it to a pencil factory to be turned into erasers. Awakened, Spencer seeks out the Beautiful Girl Across the Hall, but finds her with another man. Crushed, Spencer returns to his room. He takes a pair of scissors and for the first time removes the child's swaddling clothes. It is revealed that the child has no skin; the bandages held its internal organs together, and they spill apart after the rags are cut. The child gasps in pain, and Spencer stabs its organs with the scissors. The wounds gush a thick liquid, covering the child. The power in the room overloads, causing the lights to flicker; as they flick on and off the child grows to huge proportions. As the lights burn out completely, the child's head is replaced by the planet seen at the beginning. Spencer appears amidst a billowing cloud of eraser shavings. The side of the planet bursts apart, and inside, the Man in the Planet struggles with his levers, which are now emitting sparks. Spencer is embraced warmly by the Lady in the Radiator, as both white light and white noise build to a crescendo before the screen turns black and silent.

NOSTALGHIA (Andrei Tarkovsky, 1983)

The Russian writer Andrei Gorchakov travels to Italy to research the life of 18th-century Russian composer Pavel Sosnovsky, who lived there and committed suicide after his return to Russia.[7] He and his comely interpreter Eugenia travel to a convent in the Tuscan countryside, to look at frescoes by Piero della Francesca. Andrei decides at the last minute that he does not want to enter. Back at their hotel Andrei feels displaced and longs to go back to Russia, but unnamed circumstances seem to get in the way. Eugenia is smitten with Andrei and is offended that he will not sleep with her, claiming that she has a better boyfriend waiting for her. Andrei meets and befriends a strange man named Domenico, who is famous in the village for trying to cross through the waters of a mineral pool with a lit candle. He claims that when finally achieving it, he will save the world. They both share a feeling of alienation from their surroundings. Andrei later learns that Domenico used to live in a lunatic asylum until the post-fascistic state closed them and now lives in the street. He also learns that Domenico had a family and was obsessed in keeping them inside his house in order to save them from the end of the world, until they were freed by the local police after seven years. Before leaving, Domenico gives Andrei his candle and asks him if he will cross the waters with the candle for him. During a dream-like sequence, Andrei sees himself as Domenico and has visions of his wife, Eugenia and Mary, mother of Jesus as being all one and the same. Andrei seems to cut his research short and plans to leave for Russia, until he gets a call from Eugenia, who wishes to say goodbye and tell him that she met Domenico in Rome by chance and that he asked if Andrei has walked across the pool himself as he promised. Andrei says he has, although that is not true. Eugenia is with her boyfriend, but he seems uninterested in her and appears to be involved in dubious business affairs. Later, Domenico delivers a speech in the city about the need of mankind of being true brothers and sisters and to return to a simpler way of life. Finally, he plays the fourth movement of Beethoven's Ninth Symphony and immolates himself while an onlooker imitates the action of him writhing on the ground in agony. Meanwhile, Andrei returns to the mineral pool in Bagno Vignoni (Val d'Orcia) to fulfill his promise, only to find that the pool has been drained. He enters the empty pool and repeatedly attempts to walk from one end to the other without letting the candle extinguish, as he experiences signs of his illness. When he finally achieves his goal, he collapses and dies. The final shot shows Andrei and a dog resting on the ground of Abbey of San Galgano, with a countryside with a wooden house in the background.

SCENES FROM A MARRIAGE (Ingmar Bergman, 1973)

The TV miniseries' six episodes ran between 11 April and 16 May 1973. At about 50 minutes per episode, the miniseries totals 282 minutes. Scenes from each episode appear in the film version, which is 168 minutes long. The episode titles appear in the film version as chapter titles. "Innocence and Panic (Oskuld och panik)" 11 April 1973An affluent couple, Marianne and Johan, are interviewed for a magazine series on love after having renewed their marriage contract after their 10th anniversary. In the interview, they come across as an ideal couple with two daughters. Afterward, they entertain the couple Peter and Katarina, who have a miserable relationship. Marianne reveals to Johan she is pregnant, and she winds up having an abortion. "The Art of Sweeping Things Under the Rug (Konsten att sopa under mattan)" 18 April 1973Marianne wakes up one morning determined to not visit her parents for dinner, as the family usually does each week, but backs down. At the university where Johan works, he shares poetry that he has not let Marianne see with a female colleague, who tells him it is mediocre. Later, Marianne and Johan debate the lack of joy they take in their sex life. "Paula" 25 April 1973 Johan reveals to Marianne that he is having an affair with a much younger woman named Paula, an unseen character, and wants a separation. He intends to leave home for many months, and shares his frustrations about their marriage and longtime desire to leave. Upon phoning a friend for help, Marianne learns many of her friends knew about the affair before she did. "The Vale of Tears (Tåredalen)" 2 May 1973Johan visits Marianne, disclosing he intends to take a position at Cleveland University. Marianne then suggests they should finalize a divorce, hinting she is interested in remarrying. She shares what she has learned about herself in therapy, but Johan doesn't listen. "The Illiterates (Analfabeterna)" 9 May 1973Marianne and Johan meet to finalize their divorce, leading to more arguments over the division of their belongings, the upbringing of their daughters and Marianne's new enjoyment of sex with her current partner. After the arguments escalate into physical violence, Johan sadly signs the papers. In the Middle of the Night in a Dark House Somewhere in the World (Mitt i natten ett mörkt hus någonstans i världen)" 16 May 1973Despite having both been remarried to other people, Marianne and Johan meet for an affair. Marianne reveals she had an affair in 1955, very shortly after they were married. It has been 20 years since they were married. Going to a friend's country house, Marianne has a nightmare, and wakes up fretting she has never loved or been loved. Johan comforts her that they share an imperfect love.

DAWN OF THE DEAD (George A. Romero, 1978)

The United States is devastated by a mysterious plague that reanimates recently-dead human beings as flesh-eating zombies. At the dawn of the crisis, it has been reported that millions of people have died and reanimated. Despite the government's best efforts, social order is collapsing. Rural communities and the National Guard have been effective in fighting the zombie hordes in open country, but urban centers descend into chaos. At WGON TV, a television studio in Philadelphia, traffic reporter Stephen Andrews and his pregnant girlfriend, producer Fran Parker, are planning to steal the station's helicopter to escape the city. Across town, police SWAT officer Roger DeMarco and his team raid a low-income housing project, whose mostly African American and Latino tenants are defying the martial law of delivering their dead to the National Guard. The tenants and the officers exchange gunfire as the officers try to gain entry. Roger unsuccessfully tries to restrain Wooley, a brutal and racist officer, after he maniacally kills several unarmed civilians. Wooley is shot dead by an officer from another unit, Peter Washington. As the SWAT team dispatch the reanimated dead that have injured or killed several tenants, a disillusioned Roger suggests that he and Peter desert and join up with Stephen (who is Roger's friend) in escaping the city. An elderly priest tells them that several zombies are confined in the basement. He also tells them that the SWAT team is stronger than the residents, but that soon the dead will be stronger than the SWAT team. The two go there and take on the grim job of eliminating all of them. Later that night, Stephen discovers the dead body of a security operator who had been guarding a traffic helicopter belonging to his employer. Roger and Peter join Fran and Stephen at a police dock and then leave Philadelphia in the stolen helicopter. Following some close calls while stopping for fuel, the group comes across a shopping mall, and decide to remain there since there is plenty of food, medicine, and all kinds of consumables. Peter and Stephen camouflage the entrance to the stairwell which leads to their safe room, and they block the mall entrances with trucks to keep the undead from penetrating. This involves driving through crowds of zombies who are indifferent to their own injuries and attempt to enter the trucks. Roger survives a particularly dangerous encounter, and becomes reckless as a result. He is soon bitten by the zombies. After clearing the mall's interior of zombies, the four enjoy a hedonistic lifestyle with all the goods available to them, furnishing their safe room with the mall's many commodities. Roger eventually succumbs to his wounds and dies; when he reanimates as a zombie, Peter shoots him in the head and later buries his body in the mall. Sometime later, all emergency broadcast transmissions cease, suggesting that the government has collapsed. Now isolated, the three load some supplies into the helicopter, in case they might need to leave suddenly. Fran gets Stephen to teach her how to fly in case he is killed or incapacitated. A nomadic biker gang sees the helicopter in flight, and break into the mall, destroying the barriers and allowing hundreds of zombies back inside. Despite having a fallback plan should the mall be attacked, Stephen, consumed by territorial rage over the mall, blindly fires on the looters, beginning a protracted battle. On their way out with whatever goods they could carry, straggling bikers are eventually overwhelmed and eaten by the zombies. Stephen tries to hide in the elevator shaft, but gets shot and subsequently mauled by roaming zombies. When Stephen reanimates, he instinctively returns to the safe room and leads the undead to Fran and Peter. Peter kills the undead Stephen while Fran escapes to the roof. Peter, not wanting to leave, locks himself in a room and contemplates suicide. When the zombies burst in, he has a change of heart and fights his way up to the roof, where he joins Fran. Having escaped and low on fuel, the two then fly away in the helicopter to an uncertain future.

I WAS BORN, BUT... (Yasujiro Ozu, 1932)

The Yoshi family has just moved to the Tokyo suburbs, close to where the father Kennosuke's (Tatsuo Saitō) direct boss, Iwasaki (Takeshi Sakamoto), is staying. Kennosuke's two young sons Keiji and Ryoichi (Tomio Aoki and Hideo Sugawara) are supposed to be going to school, but owing to the threats of a group of neighborhood and school bullies, they decide to play truant. After the teacher speaks to their father, Keiji and Ryoichi have no choice but to go to school. They attempt to eat sparrow's eggs to get stronger so that they can get back at the boys, but an older delivery boy Kozou (Shoichi Kofujita) decides to help them out to threaten the bullies, and they emerge as the top dogs amongst the gang. One of the neighborhood kids is Taro (Seiichi Kato), whose father is Iwasaki himself. The boys argue amongst themselves who has the most powerful father. Not long after, they visit Taro's home, where the office workers have gathered under Iwasaki, who screens some home movies for the amusement of the gathering. The two brothers witness on film how their father, who to them is stern and whom they look up to, plays the buffoon before his colleagues and boss. Humiliated, they go home and decide that their father isn't such an important person after all. They throw a massive tantrum, and confront their father asking him why he has to grovel under Taro's father. Kennosuke answers that Taro's father is richer and holds a higher position than he does. Dissatisfied with this answer, the two decide to hold a hunger strike. Ryoichi gets a spanking from his father, but after the children have gone to bed, the father confides in the wife that he does not enjoy doing what he does. Both wish for a better future for their children. The next day, the children attempt a hunger strike during breakfast, but succumb to a dish of onigiri. Kennosuke manages a reconciliation with them. The children say they would like to be a lieutenant general and a general respectively. On their way to school, they see Taro's father in a car, and they urge their father to go up and greet him. As Kennosuke takes a convenient car ride to work, the brothers walk to school with Taro and the rest of the gang.

ALIEN (Ridley Scott, 1979)

The commercial space tug Nostromo is returning to Earth with a seven-member crew in stasis: Captain Dallas, Executive Officer Kane, Warrant Officer Ripley, Navigator Lambert, Science Officer Ash, and engineers Parker and Brett. Detecting a transmission from a nearby moon, the ship's computer, Mother, awakens the crew. Per company policy requiring any potential distress signal be investigated, they land on the moon despite Parker's protests, sustaining damage from its atmosphere and rocky landscape. The engineers stay on board for repairs while Dallas, Kane, and Lambert investigate the terrain. They discover the signal originates from a derelict alien ship and enter it, losing contact with the Nostromo. Ripley deciphers part of the transmission, determining it as a warning, but cannot relay the information to those on the derelict ship. Meanwhile, Kane discovers a chamber containing hundreds of large, egg-like objects. When he touches one, a creature springs out, penetrates his helmet, and attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the Nostromo. As the acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash overrides her decision and lets them inside. Ash attempts to remove the creature from Kane's face but stops when he discovers that its extremely corrosive acidic blood could hurt Kane and potentially damage the hull. It later freely detaches and is found dead. The ship is partially repaired, and the crew continues their journey back to Earth. Kane awakens with some memory loss but seems to be otherwise unharmed. During a final crew meal before returning to stasis, he suddenly chokes and convulses. A small alien creature bursts from Kane's chest, killing him, and escapes into the ship, with Ash dissuading the rest from killing it. After ejecting Kane's body out of an airlock, the crew attempts to locate the creature with tracking devices and capture it with nets, electric prods, and flamethrowers. Brett follows the crew's cat, Jones, into a landing leg compartment,[10] where the now-fully-grown alien attacks Brett and disappears with his body. After a heated discussion, the crew decides the creature must be in the air ducts. Dallas enters the ducts, intending to force the monster into an airlock, but it ambushes and seemingly kills him. Lambert, realizing that the alien intends to kill the crew one by one, implores the others to abandon ship and escape in its small shuttle, but Ripley, now in command, explains it will not support four people and insists on continuing Dallas' plan of flushing out the alien. Accessing Mother, Ripley discovers the company has secretly ordered Ash to return the alien, with the crew considered expendable. She confronts Ash, who tries to choke her to death. Parker intervenes and clubs Ash, knocking his head loose and revealing him as an android. He, Ripley, and Lambert reactivate Ash's head, and they learn that he was assigned to ensure the creature's survival. He expresses admiration for the creature's psychology, unhindered by conscience or morality, and taunts them about their chances of survival. Ripley cuts off his power and Parker incinerates him. The remaining crew decides to self-destruct the Nostromo and escape in the shuttle. However, Parker and Lambert are ambushed and killed by the creature while gathering life-support supplies. Ripley initiates the self-destruct sequence but finds the alien blocking her path to the shuttle. She retreats and attempts unsuccessfully to abort the self-destruct. With no further options, she flees to the shuttle, carrying Jones, and narrowly escapes as the Nostromo explodes. As Ripley prepares for stasis, she discovers that the alien is aboard, having wedged itself into a narrow space. She dons a spacesuit and uses gas to flush the creature out. It approaches Ripley, but before it can attack, she opens an airlock door, almost blasting it into space. However, it hangs on by gripping the frame. Ripley shoots it with a grappling hook, but the gun catches as the airlock door closes, tethering the alien to the shuttle. It pulls itself into an engine exhaust, but Ripley fires the engines, blasting it away into deep space. After recording the final log entry, she places Jones and herself into stasis for the trip back to Earth.

NANOOK OF THE NORTH (Robert Flaherty, 1922)

The documentary follows the lives of an Inuk, Nanook, and his family as they travel, search for food, and trade in the Ungava Peninsula of northern Quebec, Canada. Nanook, his wife Nyla and their family are introduced as fearless heroes who endure rigors no other race could survive. The audience sees Nanook, often with his family, hunt a walrus, build an igloo, go about his day, and perform other tasks.

CRÍA CUERVOS (Carlos Saura, 1976)

The events of the film are set mainly in 1975, but interweave the past, present and future. Eight-year-old Ana overhears her father, Anselmo, in bed with a woman, followed by choking sounds. The woman rushes out alone and leaves. Ana finds her father dead in bed, apparently from a heart attack. Calmly, Ana removes a half-full glass of milk from the dresser, carries it to the kitchen, and washes it. Ana's mother, María, enters the kitchen and chides her for being up so late. It is revealed shortly that Ana is imagining her mother, who previously died of cancer. At Anselmo's wake, Ana again sees the woman who fled the bedroom - Amelia, who is married to Nicolás, a longtime army compatriot of Anselmo's. (It is mentioned later that the two men had served in División Azul, volunteering to fight alongside the Nazis in World War II.) Although Ana views her father's body, she refuses to kiss his forehead when prompted by the adults. Upon returning home from the wake, Ana goes into the basement and retrieves a tin containing a white powder. The camera pans to an adult Ana, who looks exactly like María and begins to address the camera. She explains that her mother had once told her the powder was a potent poison, and that after her mother's death, she came to the conclusion that her father's cruelty had caused the cancer, so she used the powder to kill her father. Ana, who is on summer vacation from school, lives in a large, quiet house with her young sisters, Irene and Maite; her grandmother, who is mute and a wheelchair user; Roni, a pet guinea pig; and Rosa, the vivacious family maid and Ana's closest companion. Following the funeral, María's sister Paulina becomes the orphaned children's guardian and moves in. Flashbacks reveal that María was a warm and imaginative mother; in contrast, Paulina is stern and patronizing. Ana rebels against her aunt's authoritarianism while routinely reliving memories of life with her mother and imagining her presence. Many of the memories are distressing, including witnessing María writhing in pain in her final days. In another, Ana watches her parents argue late at night. María begs Anselmo to be more present in his family's life, saying that she is sick and wants to die; Anselmo dismisses her coldly, countering that she is trying to manipulate him into ending his infidelities by feigning illness. Growing increasingly despondent, present-day Ana offers to help her grandmother die by administering the same poison powder she used to kill her father, which her grandmother accepts, but then declines once Ana tells her that the "poison" is called baking soda. Later, Ana discovers Roni dying and strokes him until he goes still. Nicolás comes to the house to visit Paulina, who is revealed to be his mistress. Ana, holding a pistol she found in her father's study, walks in on an intimate moment between the two adults. Nicolás eventually persuades her to hand him the gun, and discovers that it was loaded. That night, Ana attempts to kill Paulina by dissolving the "poison" in a glass of milk, which she later retrieves and washes as she did her father's glass. Ana then enters Paulina's bedroom and strokes her hair as she lies asleep in bed. Ana is briefly shocked that Paulina is alive the next morning. At breakfast, Irene recounts a dream from the night before: two men kidnapped her and couldn't reach María and Anselmo for ransom, but when they were about to kill her, she woke up. The sisters leave for school, emerging from their cloistered lives into the vibrant, noisy city, captured in a long tracking shot that contrasts with the tighter framing of the preceding scenes.

THE QUINCE TREE SUN (Victor Erice, 1992)

The film begins by showing Antonio López García as a very meticulous painter. He drives in pegs to mark his stance, hangs a weight and uses strings to determine the symmetry and center of his painting. His first attempt starts out peacefully but he soon encounters problems due to the weather and the size of his canvas. As López and a friend discuss Michelangelo's The Last Judgement, painted when Michelangelo was in his 60s, which López is fast approaching, the film's subject takes shape as the relationship between the artist's work and his own mortality. López's future attempts are much more rushed and frantic as he struggles to compete with the weather, the fleeting sun and the rotting and weighed down fruit in maintaining his vision.

CITY OF GOD (Fernando Meirelles & Kátia Lund, 2002)

The film begins in medias res with an armed gang chasing after an escaped chicken in a favela called the Cidade de Deus ("City of God"). The chicken stops between the gang and the narrator, a young man nicknamed Rocket ("Buscapé"). The film flashes back to the 1960s where the favela is shown as a newly built housing project with few resources. Three impoverished, amateur thieves known as the "Tender Trio" - Shaggy ("Cabeleira"), Clipper ("Alicate"), and Rocket's older brother, Goose ("Marreco") - rob business owners and share their gains with the community who, in turn, hide them from the police. Li'l Dice (Dadinho), a younger yet ambitious hanger-on, convinces them to hold up a motel and rob its occupants. The gang resolves not to kill anyone and tells Li'l Dice to serve as a lookout. Instead, a frustrated Li'l Dice falsely warns the trio that the police are coming and guns down the motel occupants after they flee. The massacre attracts so much police attention that the trio is forced to split up: Clipper joins the Church, Shaggy is shot by the police while trying to escape the favela with his girlfriend, and Goose is shot by Li'l Dice after taking his money while Li'l Dice's friend Benny (Bené), Shaggy's brother, watches. In the 1970s, the favela has been transformed into an urban jungle. Rocket has joined a group of young hippies. He enjoys photography and likes one girl, Angélica. Rocket tries to get close to her while they share a tender moment on the beach, but they're interrupted by a group of delinquents known as "The Runts". Li'l Dice, who now calls himself "Li'l Zé" ("Zé Pequeno"), has established a drug empire with Benny by eliminating all of the competition, except for Carrot, who is a good friend of Benny's. Li'l Zé takes over 'the apartment', a known drug distribution center, and forces Carrot's manager Blacky ("Neguinho"), to work for him instead. Coincidentally, Rocket visits the apartment to get some drugs off Blacky for Angélica during the apartment raid. Through narration, Rocket momentarily considers attempting to kill Li'l Zé and avenge his brother but decides against it. He is let go after Benny tells Li'l Zé that Rocket is Goose's brother. A relative peace comes over the City of God under the reign of Li'l Zé, who manages to avoid police attention. However, the police remain a threat to Zé's business due to the Runts robbing stores in Carrot's district. When Carrot refuses to intervene, Li'l Zé punishes the Runts himself and forces a boy named Steak n' Fries (Fille com Fritas) to kill one of them. Rocket continues to pursue photography and starts working in a supermarket to try and save up for a new camera. However, he gets fired when the Runts loot the store and the owner accuses Rocket of being a part of them. Convinced that he can't earn a living from honest work, Rocket digs up his brother's gun and considers turning to crime. He plans to hold up a bus, but changes his mind after the clerk, a respectful veteran named Knockout Ned (Mané Galinha), urges him to avoid violence and live a peaceful life. Benny decides to branch out of the drug dealer crowd and befriends Tiago, Angélica's ex-boyfriend, who introduces him to his (and Rocket's) friend group. Benny and Angélica begin dating. Together, they decide to leave the City and the drug trade. During Benny's farewell party, Tiago trades a new camera for drugs then Benny tries giving it to Rocket. Embittered by Benny's plan to leave, Li'l Zé takes the camera from him and the two start fighting over it. During this, Blacky arrives and tries to shoot Zé, but misses and kills Benny instead. Upon hearing about this, Carrot murders Blacky, knowing that Benny's death has endangered his life. That night, a heartbroken Li'l Zé and a group of his soldiers set out to kill Carrot and finally conquer his territory. On the way, Zé beats up Knockout Ned and rapes his girlfriend for dismissing his advances at Benny's party. After leaving, Li'l Zé questions his decision to spare Ned and goes to his home to finish him off. Ned's brother, Gerson steps outside and tries reasoning with Zé to no avail. Gerson then stabs Li'l Zé in the arm and the gang retaliates by shooting into the house, killing Gerson and Ned's uncle in the process. Li'l Zé postpones the assault on Carrot and a gang war breaks out between the two. After promising that they won't harm the innocent, a vengeful Ned sides with Carrot. However, this is quickly broken by Ned himself, who kills a security guard during a bank holdup. The war is still ongoing a year later, in 1981, the origin forgotten. Both sides enlist more "soldiers" and public interest greatly increases. To avoid the violence, Rocket begins delivering papers for a newspaper company. After finding Steak n' Fries killed in a fight, Ned is shot by an unseen assailant and arrested. The gangs start trafficking firearms to supply both sides and Knockout Ned is interviewed on the news about the gang war. Envious of Ned's newfound fame, Li'l Zé gives Benny's camera to Rocket and has him take photos of their gang while they brandish their newly acquired weapons. Zé then orders Rocket to develop the photos and bring them back to him. Rocket uses his job to develop the pictures, but without his knowledge, a reporter publishes them on the front page. The photos receive widespread acclaim since no outsiders can safely enter the City of God anymore, prompting the newspaper to offer Rocket a photography internship in exchange for more. Fearing Li'l Zé will kill him for publishing the photos, Rocket decides to lay low before returning to the favela. The reporter, a woman named Marina, takes Rocket in for the night and he loses his virginity to her. Later that night, Carrot infiltrates the hospital where Ned is being held and frees him. Unbeknownst to Rocket, Li'l Zé is pleased by the photos because of the increased notoriety they bring him. Eventually, Li'l Zé recruits the Runts and Rocket returns to the City for more photographs, bringing the film back to its opening scene. Rocket finds himself caught between Zé's gang and the arriving police, who quickly withdraw when they realize they are outnumbered and outgunned. Rocket is surprised when Zé asks him to take pictures, but as he prepares to, Carrot's gang arrives. In the ensuing gunfight, Li'l Zé and Tiago hijack a truck, but Ned shoots and kills Tiago, causing them to crash. Ned is subsequently killed by a boy, who's revealed to be the one who shot him earlier; he infiltrated Carrot's gang to avenge his father, the bank security guard whom Ned killed when the war began. The police capture Li'l Zé and Carrot and plan to show Carrot off to the media. Since Li'l Zé has been bribing the police, they take all of his money and let him go, but Rocket secretly photographs the scene. After this, the Runts corner Li'l Zé and collectively execute him; they intend to take over his criminal enterprise and avenge their friend killed by Steak n' Fries. Rocket contemplates whether to publish the cops' photo, expose corruption, and become famous or the picture of Li'l Zé's dead body, which will secure his position at the newspaper. He decides on the latter, fearing a violent response from the cops, as well as seeing the opportunity to pursue his dream. In the final scene, the Runts are shown walking around the City of God, listing off the dealers they plan to kill to take over the drug business, including the Red Brigade.

CÉLINE AND JULIE GO BOATING (Jacques Rivette, 1974)

The film begins with Julie sitting on a park bench reading a book of magic spells when a woman (Céline) walks past, and begins dropping (à la Lewis Carroll's White Rabbit) various possessions. Julie begins picking them up, and tries to follow Céline around Paris, sometimes at a great pace (for instance, sprinting up Montmartre to keep pace with Céline's tram). After adventures following Céline around the Parisian streets—at one point it looks as if they have gone their separate ways, never to meet up again—Céline finally decides to move in with Julie. There are incidents of identity swapping, with Céline pretending to be Julie to meet the latter's childhood sweetheart, for example, and Julie attempting to fill in for Céline at a cabaret audition. The second half of the film centers on the duo's individual visits to 7 bis, rue du Nadir-aux-Pommes, the address of a mansion in a quiet, walled off grounds in Paris. While seemingly empty and closed in the present day, the house is yet where Céline realizes she knows as the place where she works as a nanny for a family—two jealous sisters, one widower, and a sickly child. Soon, a repetitive pattern emerges: Céline or Julie enters the house, disappears for a time, and then is suddenly ejected by unseen hands back to present day Paris later that same day. Each time either Céline or Julie is exhausted, having forgotten everything that has happened during their time in the house. However, each time upon returning via a taxi the women discover a candy mysteriously lodged in their mouth. It seems to be important, so each makes sure to carefully save the candy. At one point, they realize that the candy is a key to the other place and time; sucking on the sweet transports them back to the house's alternative reality (in this case a double reference to both Lewis Carroll and to Marcel Proust's madeleine) of the day's events. The remainder of the film consists of the two women attempting to solve the central mystery of the house: amidst the jealous conniving of women of the house over the attentions of the widower, a young child is mysteriously murdered. But this narrative is one that repeats like a stage play, with exact phrases they soon learn well enough to start joking about. Each time they repeat eating the candy, they remember more of the day's events. Just as if reading a favorite novel, or again watching a beloved movie, they find that they can enter the narrative itself, with each twist and turn memorized. Far from being the passive viewers/readers that they were at first—and most movie viewers always are—the women come to realize that they can seize hold of the story, changing it as they wish. Now, even as the plot continues to unfold in its clockwork fashion, the women begin to take control, making it "interactive" by adding alterations to their dialogues and inserting different actions into the events unreeling in the house. Finally, in a true act of authorship, they change the ending, and rescue the young girl who was originally murdered. Both realities are fully conjoined when, after their rescue of the girl from the House of Fiction, the two not only discover themselves transported back to Julie's apartment, but this time it isn't another "waking dream" for the young girl, Madlyn, has joined them, safely back in 1970s Paris. To relax, Céline, Julie, and Madlyn take a rowboat on a placid river, rowing and gliding happily along. But something isn't quite right. They go silent upon seeing another boat quickly coming to pass them on the water. On that boat we see the three main protagonists from the house-of-another-time: that alternate reality has followed them back to their world. But Céline, Julie, and Madlyn see them as the antique props they are, frozen in place. The film ends as we watch Céline this time, half nodding off on a park bench, who catches sight of Julie hurrying past her, who in her White Rabbit way, drops her magic book. Picking it up, she calls and runs after Julie.

HOW GREEN WAS MY VALLEY (John Ford, 1941)

The film begins with a monolog by an older Huw Morgan (voiced by Irving Pichel):[a] "I am packing my belongings in the shawl my mother used to wear when she went to the market. And I'm going from my valley. And this time, I shall never return." The valley and its villages are now blackened by the dust of the coal mines that surround the area. A young Huw (Roddy McDowall), the youngest child of Gwilym Morgan (Donald Crisp), walks home with his father to meet his mother, Beth (Sara Allgood). His older brothers, Ianto (John Loder), Ivor (Patric Knowles), Davy (Richard Fraser), Gwilym Jr. (Evan S. Evans), and Owen (James Monks) all work in the coal mines with their father, while sister Angharad (Maureen O'Hara) keeps house with their mother. Huw's childhood is idyllic; the town, not yet overrun with mining spoil, is beautiful, the household is warm and loving, and the miners sing as they walk home (in this case "Cwm Rhondda"). The wages are collected, the men wash then eat together. Afterwards the spending money is given out. Huw is smitten on meeting Bronwyn (Anna Lee), a girl engaged to be married to his eldest brother, Ivor (Patric Knowles). At the boisterous wedding party Angharad meets the new preacher, Mr. Gruffydd (Walter Pidgeon), and there is an obvious mutual attraction. Trouble begins when the mine owner decreases wages, and the miners strike in protest. Gwilym's attempt to mediate by not endorsing a strike estranges him from the other miners as well as his older sons, who quit the house. Beth interrupts a late night meeting of the strikers, threatening to kill anyone who harms her husband. She and Huw head across the fields in a snowstorm in the dark to return home. Later on their way home the strikers hear Huw calling for help. They rescue Beth and Huw from the river. Beth has temporarily lost the use of her legs and the doctor fears that Huw, who has also lost the use of his legs, will never walk again. He eventually recovers with the help of Mr. Gruffydd, which further endears the latter to Angharad. The strike is eventually settled, and Gwilym and his sons reconcile, yet many miners have lost their jobs. The exceptionally beautiful Angharad is courted by the mine owner's son, Iestyn Evans (Marten Lamont), though she loves Mr. Gruffydd. Mr. Gruffydd loves her too, to the malicious delight of the gossipy townswomen, but cannot bear to subject her to the hard, spartan life of an impoverished churchman. Angharad submits to a loveless marriage to Evans, and they relocate out of the country. Huw begins school at a nearby village. Abused by other boys, he is taught to fight by boxer Dai Bando (Rhys Williams) and his crony, Cyfartha (Barry Fitzgerald). After a beating by the cruel teacher Mr. Jonas (Morton Lowry), Dai Bando avenges Huw with an impromptu boxing display on Mr. Jonas to the delight of his pupils. Bronwyn learns Ivor has been killed in a mine accident. The shock causes her to go into labor and she gives birth to a son. Later, two of Morgan's sons are dismissed in favor of less experienced, cheaper laborers. With no job prospects, they leave to seek their fortunes abroad. Huw is awarded a scholarship to university, but to his father's dismay he refuses it to work in the mines. He relocates with Bronwyn, to help provide for her and her child. When Angharad returns without her husband, vicious gossip of an impending divorce spreads through the town. It is eventually announced there will be a meeting of the Deacons - the governing council of the local Calvinistic Methodist chapel - to discuss, denounce and excommunicate Angharad. This prospect enrages Mr. Gryffudd, for he knows she has done nothing other than return home from Cape Town without her husband. After condemning the Deacon's small-mindedness, he storms out before the meeting intent on leaving the town. But that evening, the alarm whistle sounds, signaling another mine disaster. Several men are injured, and Gwilym and others are trapped in a cave-in. Mr Gryffudd catches sight of Angharad, who has rushed to the mine for word of her father; and we know from his expression that he will never leave now. As she looks pleadingly at him, he calls, "Who is for Gwilym Morgan and the others?" Young Huw, Mr. Gruffydd, and Dai Bando then descend with other volunteers to rescue the remaining miners. Gwilym and his son are briefly re-united before he succumbs to his injuries. Above, in the cold of light dawn, the women of the family - Angharad, Bronwyn and Beth Morgan - have stood vigil all night; when Beth says, just after Gwilym's death, "He came just now. Ivor was with him. He told me of the glories he had seen!" Then the sound of the pulley announces the lift is returning from the depths of the mine. Huw is cradling his father's body, his coal-blackened face devoid of youthful innocence. Narration by an older Huw recalls, "Men like my father cannot die. They are with me still, real in memory as they were in flesh, loving and beloved forever. How green was my valley then." The movie ends with a montage of family vignettes showing Huw with his father and mother, his brothers and sister.

EARTH (Alexander Dovzhenko, 1930)

The film begins with a montage of wind blowing through a field of wheat and sunflowers. Next, an old peasant named Semen dies beneath an apple tree, attended by his son Opanas and grandson Vasyl. Elsewhere local kulaks, including Arkhyp Bilokin, denounce collectivization and declare their resistance to it. At Opanas's home, Vasyl and his friends meet to discuss collectivization and argue with Opanas, who is skeptical about collectivization. Later, Vasyl arrives with the community's first tractor to much excitement. After the men urinate in the overheated radiator, the peasants plow the land with the tractor and harvest the grain, in the process plowing over the kulaks' fences. A montage sequence presents the production of bread from beginning to end. That night Vasyl dances a hopak along a path on his way home and is killed by a dark figure. Opanas looks for Vasyl's killer and confronts Khoma, Bilokin's son, who does not confess. Vasyl's father turns away the Russian Orthodox priest who expects to lead the funeral, declaring his atheism. He asks Vasyl's friends to give his son a secular funeral and "sing new songs for a new life." The villagers do so, while Vasyl's fiancée, Natalya, mourns him and the local priest curses them. At the cemetery, Khoma arrives in a frenzy to declare that he will resist collectivization and that he killed Vasyl. The villagers ignore him while one of Vasyl's friends eulogizes him. The film ends with a montage showing a downpour of rain over fruit and vegetables, after which Natalya finds herself embraced in Vasyl's arms.

FLOATING CLOUDS (Mikio Naruse, 1955)

The film follows Yukiko, a woman who has just been expatriated from French Indochina, where she has been working as a secretary for a forestry project of the Japanese wartime government. Yukiko seeks out Kengo, one of the engineers of the project, with whom she had an affair and who had promised to divorce his wife for her. They renew their affair, but Kengo tells Yukiko he is unable to leave his wife. Yukiko can't cut ties with Kengo, although he even starts an affair with a married younger woman, while she becomes the mistress of an American soldier as a means to survive in times of economic restraint. Eventually, she follows Kengo to an island where he has taken a new job, where she dies of her bad health and the humid climate.

A CITY OF SADNESS (Hou Hsiao-hsien, 1989)

The film follows the Lin family in a coastal town near Taipei, Taiwan from 1945 to 1949, the period after the end of 50 years of Japanese colonial rule and before the establishment of a government-in-exile in Taiwan by Chiang Kai-shek's Nationalist Kuomintang forces once the Communist army captured mainland China. The film starts on August 15, 1945, with the voice of Emperor Hirohito announcing Japan's unconditional surrender. When Taiwan regained its sovereignty, people were full of joy. A large number of people from the mainland went to Taiwan such as Kuomintang troops, gangsters and people with socialist ideas. Meanwhile, Lin Wen-hsiung, who runs a bar called "Little Shanghai" and is the eldest of the Lin's four sons, awaits the birth of his child. The second son disappeared in the Philippines during the war. The fourth and youngest son, Wen-ching, is a doctor and photographer with leftist leanings who became deaf following a childhood accident; he is close friends with Hiroe and Hiroe's sister, Hiromi. The third son, Lin Wen-liang, had been recruited by the Japanese to Shanghai as an interpreter. After the defeat of Japan, he was arrested by the Kuomintang government on charges of treason. As a result, his mental condition was stimulated and he had been in hospital since he returned to Taiwan. When he recovered, he met his old acquaintance. He began to engage in illegal activities, including the theft of Japanese currency notes and a smuggling operation run by Shanghainese gangsters. Wen-hsiung eventually learns of this and stops Wen-liang. However, this leads the Shanghainese mob to arrange for Wen-liang's imprisonment on false charges of collaboration with the Japanese. While in prison, Wen-liang is tortured and suffers brain damage as a result. The February 28 Incident of 1947 occurs, in which thousands of Taiwanese people are massacred by Kuomintang troops. The Lin family follows announcements related to the event via radio, in which Chen Yi, the chief executive of Taiwan, declares martial law to suppress dissenters. The wounded pour into the neighborhood clinic, and Wen-ching is arrested but eventually released. Hiroe heads for the mountains to join the leftist guerillas. Wen-ching expresses his desire to join Hiroe, but Hiroe convinces Wen-ching to return and marry Hiromi, who loves him. When Lin Wen-hsiung is gambling at a casino one day, a fight breaks out with one of the Shanghainese who previously framed Wen-liang. This results in Wen-hsiung being shot and killed by a Shanghainese mafia member. Following Wen-hsiung's funeral, Wen-ching and Hiromi marry at home, and Hiromi later bears a child. The couple supports Hiroe's resistance group, but the guerilla forces are defeated and executed. They manage to inform Wen-ching of the fact and encourage him to escape, but Hiromi later recounts that they did not have anywhere to go. As a result, Wen-ching is soon arrested by the Kuomintang for his involvement with the guerillas, and there are only Hiromi and her son left at home.[citation needed]

THE TURIN HORSE (Béla Tarr, 2011)

The film begins with a narrator explaining German philosopher Friedrich Nietzsche's infamous mental breakdown in Turin, Italy in 1889 after seeing a man continually whip his horse, which yet refused to move. After uttering his final words, "Mutter, ich bin dumm" ("mother, I am stupid"), Nietzsche became mute and demented, cared for by his family until his death a decade later. The film focuses on a pair of impoverished potato farmers, father and daughter, and their horse (stated by the narrator, literally or metaphorically, to be the same one seen by Nietzsche) living in the 19th century Great Hungarian Plain where a violent wind blows unremittingly. They live out an arduous and repetitive existence defined by nihilistic despair; they often take turns sitting by the window alone. The horse is increasingly uncooperative, refusing to leave the property or eat and drink. A neighbour visits to trade some goods; he claims that the nearby town has been completely destroyed, and blames the apocalyptic scenario on both God and man. Later, a band of Romani arrives and drains the farmers' well of water. The father decides they must abandon the farm; the two pack and depart with the horse behaving uncharacteristically well, but return home and unpack shortly after leaving for unspecified reasons. They remove the horse's reins and shut it in the barn. The world then plunges into complete darkness; the two try to light lamps but find they quickly extinguish, even the coals. The next day, the winds can no longer be heard inside the house. Now subsisting on raw potatoes, the daughter refuses to eat or talk, seemingly resigning to her fate. The father appears to follow, not finishing his potato and sitting with his daughter in silence.

KOYAANISQATSI (Godfrey Reggio, 1982)

The film begins with the Great Gallery pictograph in Horseshoe Canyon, Canyonlands National Park, depicting several tall figures standing near a taller, crowned one. The next scene depicts the Saturn V rocket during its Apollo 11 launch. It then fades to a desolate desert landscape, before progressing to various natural phenomena. The film then incorporates humanity in the environment, with shots of choppy water, cultivated flowers, the artificial Lake Powell, a large mining truck causing billows of dust, power lines, mining operations, oil fields, the Navajo Generating Station, the Glen Canyon Dam, and atomic bomb detonations in a desert. A shot sees sunbathers on a beach, with the San Onofre Nuclear Generating Station in the background, before moving on to an aircraft, cars, and military vehicles. Time-lapses of cloud shadows move across skyscrapers, and various housing projects are in disrepair. Destruction of large buildings is depicted, including the demolition of the Pruitt-Igoe housing project in St. Louis. A time-lapse of a crowd queueing is followed by shots of people walking along streets in slow motion. The next sequence features a sunset reflected in the glass of a skyscraper, before depicting people interacting with modern technology. It sees visceral depictions of traffic, followed by people hurrying to work, and the operation of machines packaging food. Many labors are aided with the use of technology. The sequence begins to come full circle as the manufacture of cars in an assembly-line factory is shown. Daylight highway traffic are shown, followed by the movement of cars, shopping carts, televisions in an assembly line, and elevators. Time-lapses of various television shows being channel surfed are shown. In slow motion, several people react to being candidly filmed; the camera stays on them until the moment they look directly at it. Cars then move speedier. Shots of microchips and satellite photography of cities are shown, comparing the lay of each of them. Night shots of buildings are shown, as well as of people from all walks of life, from beggars to debutantes. A rocket is seen lifting off to sudden explosion; the camera follows the flaming engine and a white smoky trail as the debris falls. The film concludes with another image of the Great Gallery pictograph, this time with smaller figures. It ends with the definition of the titular Hopi noun ("crazy life; life in turmoil; life out of balance; life disintegrating; a state of life that calls for another way of living") as well as the translation lyrics that was sung in "Prophecies", one of the musical tracks in the film.

VAGABOND (Agnès Varda, 1985)

The film begins with the contorted body of a young woman lying in a ditch, covered in frost. From this image, an unseen interviewer (Varda) puts the camera on the last men to see her and the one who found her. The action then flashes back to the woman, Mona, walking along the roadside, hiding from the police and trying to get a ride. Along her journey she takes up with other vagabonds as well as a Tunisian vineyard worker, a family of goat farmers, an agronomy professor, and a maid who envies what she perceives to be Mona's beautiful and passionate lifestyle. Mona explains to one of her temporary companions that at one time she was a secretary in Paris but became unsettled with the way she was living, choosing instead to wander the country, free from any responsibility. Her condition worsens until she finally falls where we first encounter her—in a ditch, frozen to death.

TONGUES UNTIED (Marlon Riggs, 1989)

The film blends documentary footage with personal account and poetry in an attempt to depict the specificity of Black gay identity. The "silence" referred to throughout the film is that of Black gay men, who are unable to express themselves because of the prejudices of white and black heterosexual society, as well as the white gay society. Riggs brings awareness to the issues Black gay men face.[3] They are excluded from gay communities because these communities are white-centered and fail to understand the intersecting identities of race and sexuality. Riggs experienced this in San Francisco, California within the Castro District, in which he states, "I was immersed in vanilla" and witnessed the absence of the Black gay image.[4] In addition, Riggs gives examples of media in which black men are hypersexualized for white sexual pleasure and racistly portrayed Black individuals. Black gay men are placed in a divide because their voices are excluded from these LGBTQIA+ communities, but their bodies are sexualized for white viewing pleasure.[4] Furthermore, Black men are supposed to represent hyper-masculinity, and when Black gay men associate with homosexuality, they are seen as being weak.[5] With their gay identity, however, a Black man is expected to be both hyper-feminine and hyper-masculine.[4] These are the stereotypes and stigmas that oppress black gay men.[5] Within their Black communities, black homophobia is also present.[4] Riggs displays footage of church leaders preaching that gay relationships are an abomination and black political activists who consider being black and gay to be a conflict of loyalties.[3] The narrative structure of Tongues Untied is both interesting and unconventional. Besides including documentary footage detailing North American Black gay culture, Riggs also tells of his own experiences as a gay man. These include the realization of his sexual identity and of coping with the deaths of many of his friends to AIDS. Other elements within the film include footage of the Civil Rights Movement and clips of Eddie Murphy performing a homophobic stand-up routine. The documentary dealt with the simultaneous critique of the politics of racism, homophobia and exclusion as they are intertwined with contemporary sexual politics. The film is a part of a body of films and videos which examine central issues in the lives of lesbian and gay Black people. Riggs' work challenged documentary film's generic boundaries of conformity at that time.

LA TERRA TREMA (Luchino Visconti, 1948)

The film can be divided into five sections: a prologue, three main phases and an epilogue. The Valastros are family of working class fishermen in Aci Trezza, a small fishing village on the east coast of Sicily. The first phase tells us about the fishermen's attempt to improve their economic circumstances. They demand a better price for their fish, urged by the eldest son 'Ntoni, to throw the wholesalers' scales into the ocean. The fishermen end up in jail. The wholesalers realize it is more profitable to have 'Ntoni and his friends fishing, so they have the fishermen released. 'Ntoni, who lived on the mainland for a time, had brought some new, open-minded ideas back to Sicily, and he tries to form a cooperative, but no one joins him. In deciding to do it on his own, he convinces his family to mortgage their house to buy a boat and starts his new life. A festive mood is present in this sequence, with all the village joining the Valastro family salting fish in laughter and joy. The second part shows the Valastros' vulnerability. They realize that the price of being owners is high; they not only have to buy the salt but also work hard and not stop even in the hardest storm, risking their lives to be able to feed so many mouths at home. When they go out in a particularly bad storm, their new boat is severely damaged, and the Valastros have no money to get it repaired. At this point in the film, we see the other fishermen and the wholesalers mocking them already, convinced of the immutability of the prevailing social order. The third phase of the film affirms the Valastros' vulnerability and traces their decline. The social and psychological consequences of the Valastros' attempt to change things are gradually revealed. They go out of work, no one wants to give them any opportunities, and the wholesalers are able to set the price for their fish. In the scene showing the wholesalers increasing the prices yet again, we can see the faces of the children registering amazement at the cruelty of the adults. This was quite a common feature in neorealist films, and one almost sees this as an awakening of consciousness. The family unit, so strong in the beginning of the film, breaks down. Now they have no family, no house, the grandfather dies, 'Ntoni's brother Cola leaves for the mainland to seek new opportunities, their sister Lucia loses her reputation, yielding to the seduction of Marshal Don Salvatore, and 'Ntoni starts drinking. Only the elder sister Mara remains strong, although she loses all hope of ever getting married because her family is now poorer than before. In the epilogue, 'Ntoni finally overcomes his pride, recognizing the true cause of the problems of his kind and his class, and sees the need for collective action by going back with his two young brothers, Vanni and Alessio, to work as a day laborer for the wholesalers, who have bought new boats. The entire mood of the film becomes oppressive since the camera never leaves Aci Trezza, except in the scenes at sea at the beginning and end of the film. The outside world appears only indirectly when 'Ntoni goes to prison, when the family goes to sign a contract with the bank, when a stranger offering American cigarettes appears to tempt the youngsters to move to the mainland, and when the old baroness honors the inauguration of the wholesalers' new boats with her presence. Some allusions to modern Italian history are also there. On the wall of the restaurant we can see an image of a hammer and sickle. One of the wholesalers suddenly says: "The country is full of communism!", and his colleague answers: "Raimondo is always right," in a parody of the Fascist slogan, "Il Duce is always right." At the end of the film, a faded text can be seen behind Raimondo: Go with determination toward people. ~ Benito Mussolini.

LIMELIGHT (Charles Chaplin, 1952)

The movie is set in London in 1914, on the eve of World War I, and the year Chaplin made his first film. Calvero (Charlie Chaplin), once a famous stage clown, but now a washed-up drunk, saves a young dancer, Thereza "Terry" Ambrose (Claire Bloom), from a suicide attempt. Nursing her back to health, Calvero helps Terry regain her self-esteem and resume her dancing career. In doing so, he regains his own self-confidence, but an attempt to make a comeback is met with failure. Terry says she wants to marry Calvero despite their age difference; however, she has befriended Neville (Sydney Earl Chaplin), a young composer who Calvero believes would be better suited to her. In order to give them a chance, Calvero leaves home and becomes a street entertainer. Terry, now starring in her own show, eventually finds Calvero and persuades him to return to the stage for a benefit concert. Reunited with an old partner (Buster Keaton), Calvero gives a triumphant comeback performance. He suffers a heart attack during a routine, however, and dies in the wings while watching Terry, the second act on the bill, dance on stage.

TITANIC (James Cameron, 1997)

The name Titanic derives from the Titans of Greek mythology. Built in Belfast, Ireland, in what was then the United Kingdom of Great Britain and Ireland, RMS Titanic was the second of the three Olympic-class ocean liners—the first was RMS Olympic and the third was HMHS Britannic.[5] Britannic was originally to be called Gigantic and was to be over 1,000 feet (300 m) long.[6][failed verification] They were by far the largest vessels of the British shipping company White Star Line's fleet, which comprised 29 steamers and tenders in 1912.[7] The three ships had their genesis in a discussion in mid-1907 between the White Star Line's chairman, J. Bruce Ismay, and the American financier J. P. Morgan, who controlled the White Star Line's parent corporation, the International Mercantile Marine Co. (IMM). The White Star Line faced an increasing challenge from its main rivals, Cunard—which had recently launched Lusitania and Mauretania, the fastest passenger ships then in service—and the German lines Hamburg America and Norddeutscher Lloyd. Ismay preferred to compete on size rather than speed, and proposed to commission a new class of liners that would be larger than anything that had gone before, as well as being the last word in comfort and luxury.[8] The White Star Line sought an upgrade of its fleet primarily in order to respond to the introduction of the Cunard giants, but also to considerably strengthen its position on the Southampton-Cherbourg-New York service that had been inaugurated in 1907. The new ships would have sufficient speed to maintain a weekly service with only three ships instead of the original four. Thus, the Olympic and Titanic would replace RMS Teutonic of 1889, RMS Majestic of 1890 as well as RMS Adriatic of 1907. RMS Oceanic would remain on the route until the third new ship could be delivered.[citation needed] Majestic would be brought back into her old spot on White Star Line's New York service after Titanic's loss.[9] The ships were constructed by the Belfast shipbuilder Harland and Wolff, which had a long-established relationship with the White Star Line dating back to 1867.[10] Harland and Wolff was given a great deal of latitude in designing ships for the White Star Line; the usual approach was for the latter to sketch out a general concept which the former would take away and turn into a ship design. Cost considerations were a relatively low priority; Harland and Wolff was authorised to spend what it needed on the ships, plus a five percent profit margin.[10] In the case of the Olympic-class ships, a cost of £3 million (approximately £310 million in 2019) for the first two ships was agreed plus "extras to contract" and the usual five percent fee.[11] Harland and Wolff put their leading designers to work designing the Olympic-class vessels. The design was overseen by Lord Pirrie, a director of both Harland and Wolff and the White Star Line; naval architect Thomas Andrews, the managing director of Harland and Wolff's design department; Edward Wilding, Andrews's deputy and responsible for calculating the ship's design, stability and trim; and Alexander Carlisle, the shipyard's chief draughtsman and general manager.[12] Carlisle's responsibilities included the decorations, equipment and all general arrangements, including the implementation of an efficient lifeboat davit design.[b] On 29 July 1908, Harland and Wolff presented the drawings to J. Bruce Ismay and other White Star Line executives. Ismay approved the design and signed three "letters of agreement" two days later, authorising the start of construction.[15] At this point the first ship—which was later to become Olympic—had no name, but was referred to simply as "Number 400", as it was Harland and Wolff's four-hundredth hull. Titanic was based on a revised version of the same design and was given the number 401.[16]

ALL ABOUT MY MOTHER (Pedro Almodóvar, 1999)

The film centers on Manuela, an Argentine nurse who supervises donor organ transplants at Ramón y Cajal Hospital in Madrid. She is also a single mother to Esteban, a teenager who aspires to become a writer. On Esteban's 17th birthday, he is hit by a car and killed while chasing after actress Huma Rojo for her autograph following a performance of A Streetcar Named Desire, where Rojo portrays Blanche DuBois. Manuela agrees with her colleagues at work that her son's heart be transplanted to a man in A Coruña. After following her son's heart to its new recipient, Manuela resigns from her job and travels to Barcelona in search of her son's father, Lola, a transgender woman whom Manuela had kept a secret from Esteban, just as she had never told Lola about their son. In Barcelona, Manuela reunites with her old friend Agrado, a transgender sex worker who is warm and witty. She also meets and becomes deeply involved with several new friends: Rosa, a young nun who works in a shelter for sex workers who have experienced violence and is pregnant with Lola's child, but is also HIV positive; Huma Rojo, the actress whom her son had admired; and Nina Cruz, Huma's co-star and lover, who is struggling with drug addiction. Manuela's life becomes entwined with theirs as she cares for Rosa during her pregnancy and works for Huma as her personal assistant. She even acts in the play as an emergency understudy for Nina during one of her drug abuse crises. On her way to the hospital, Rosa asks the taxi to stop at a park where she spots her father's dog, Sapic, and then her own father, who suffers from Alzheimer's. He does not recognize Rosa and asks for her age and height, but Sapic recognizes her. Rosa dies giving birth to her son, and Lola and Manuela finally reunite at Rosa's funeral. Lola (formerly known as Esteban), who is dying from AIDS, talks about how she always wanted a son, and Manuela tells her about their own Esteban and how he died in an accident. Manuela then adopts Esteban, Rosa's child, and stays with him at Rosa's parents' house. The father does not understand who Manuela is, and Rosa's mother introduces her as the new cook who is living there with her son. Rosa's father then asks Manuela about her age and height. Manuela introduces Esteban, Rosa's son, to Lola and gives her a picture of their own Esteban. Rosa's mother spots them from the street and confronts Manuela about letting strangers see the baby. Manuela tells her that Lola is Esteban's father, but Rosa's mother is appalled and says, "That is the monster that killed my daughter?!" Manuela flees back to Madrid with Esteban as she cannot continue to live at Rosa's house any longer. The grandmother is afraid that she will contract HIV from the baby. Manuela writes a letter to Huma and Agrado saying that she is leaving and apologizes once again for not saying goodbye like she did years before. Two years later, Manuela returns with Esteban to an AIDS convention. She tells Huma and Agrado, who now run a stage show together, that Esteban had been a miracle by becoming HIV-free. Manuela then says she is returning to stay with Esteban's grandparents. When Manuela asks Huma about Nina, Huma becomes melancholic and leaves. Agrado tells Manuela that Nina returned to her town, got married, and had a fat, ugly baby boy. Huma rejoins the conversation briefly before exiting the dressing room to go perform.

OTHELLO (Orson Welles, 1951)

The film closely follows the plot of the play, but restructures and reorders individual scenes. Welles trimmed the source material, which is generally around three hours when performed, down to a little over 90 minutes for the film.[4] The movie opens with Othello and Desdemona's funeral. The first main scene shows Iago complaining to Roderigo about not being advised of the marriage between Othello and Desdemona. Roderigo is contemplating killing himself but Iago says: "Ere I would say I would drown myself for the love of a guinea hen, I would change my humanity with a baboon." Iago is saying that he would rather be a baboon than kill himself for a woman. He further says : "Put but money in thy purse.", Iago is urging Roderigo to sell all his lands and give the money to Iago, who will use it to convince Desdemona to have sex. Desdemona's father, Brabantio, is furious about the marriage after being told of it by Iago and Roderigo. Brabantio accuses Othello of bewitching his daughter. Othello convinces Brabantio that it was not witchcraft but rather by his tragic tales. By planting a handkerchief, Iago convinces Othello that Desdemona is having an affair with Cassio. Othello had previously promoted Cassio to lieutenant over Iago, hence his jealousy. Othello strangles Desdemona. Iago knifes to death Emilia, as she protests Desdemona's innocence. Othello realises his mistake.

INTOLERANCE (D.W. Griffith, 1916)

The film consists of four distinct, but parallel, stories—intercut with increasing frequency as the film builds to a climax—that demonstrate humankind's persistent intolerance throughout the ages. The timeline covers approximately 2,500 years. The ancient "Babylonian" story (539 BC) depicts the conflict between Prince Belshazzar of Babylon and Cyrus the Great of Persia. The fall of Babylon is a result of intolerance arising from a conflict between devotees of two rival Babylonian gods—Bel-Marduk and Ishtar. The Biblical "Judean" story (c. AD 27) recounts how—after the Wedding at Cana and the Woman Taken in Adultery—intolerance led to the Crucifixion of Jesus. This sequence is the shortest of the four. The Renaissance "French" story (1572) tells of the religious intolerance that led to the St. Bartholomew's Day Massacre of Protestant Huguenots fomented by the Catholic Royal House of Valois. The American "Modern" story (c. 1914) demonstrates how crime, moral puritanism, and conflicts between ruthless capitalists and striking workers help ruin the lives of marginalized Americans. To get more money for his spinster sister's charities, a mill owner orders a 10% pay cut to his workers' wages. An ensuing workers' strike is crushed and The Boy and The Dear One make their way to another city; she lives in poverty and he turns to crime. After they marry, he tries to break free of crime but is framed for theft by his ex-boss. While he is in prison, his wife must endure their child being taken away by the same "moral uplift society" that instigated the strike. Upon his release from prison, he discovers his ex-boss attempting to rape his wife. A struggle begins and in the confusion the girlfriend of the boss shoots and kills the boss. She escapes and The Boy is convicted and sentenced to the gallows. A kindly policeman helps The Dear One find the real killer and together they try to reach the Governor in time so her reformed husband will not be hanged. Breaks between differing time periods are marked by the symbolic image of a mother rocking a cradle, representing the passing of generations. The film simultaneously cross-cuts back and forth and interweaves the segments over great gaps of space and time, with over 50 transitions between the segments.[3] One of the unusual characteristics of the film is that many of the characters do not have names. Griffith wished them to be emblematic of human types. Thus, the central female character in the modern story is called The Dear One, her young husband is called The Boy, and the leader of the local Mafia is called The Musketeer of the Slums. Critics and film theorists maintain that these names reveal Griffith's sentimentalism, which was already hinted at in The Birth of a Nation, with names such as The Little Colonel.

PARIS IS BURNING (Jennie Livingston, 1990)

The film explores the elaborately-structured ball competitions in which contestants, adhering to a very specific "category" or theme, must "walk", much like a fashion model parades a runway. Contestants are judged on criteria including their dance talent, the beauty of their clothing, and the "realness" of their drag - i.e., their ability to pass as a member of the group or sex they are portraying. For example, the category "banjee realness" comprises gay men portraying macho archetypes such as sailors, soldiers, and street hoodlums. "Banjee boys" are judged by their ability to pass as their straight counterparts in the outside world. Most of the film alternates between footage of balls and interviews with prominent members of the scene, including Pepper LaBeija, Dorian Corey, Angie Xtravaganza, and Willi Ninja. Many of the contestants vying for trophies are representatives of "houses" that serve as intentional families, social groups, and performance teams. Houses and ball contestants who consistently win trophies for their walks eventually earn "legendary" status. Jennie Livingston, who moved to New York after graduating from Yale to work in film, spent six years[7] making Paris Is Burning, and interviewed key figures in the ball world. Many of them contribute monologues that shed light on gender roles, gay and ball subcultures, and their own life stories. The film explains how words such as house, mother, shade, reading and legendary gain new meaning when used in novel ways to describe the gay and drag subculture. The "houses" serve as surrogate families for young ball-walkers who face rejection from their biological families for their gender expression, identities, and sexual orientation.[8] The film also explores how its subjects deal with issues such as AIDS, racism, poverty, violence and homophobia.[9] Some, such as Venus Xtravaganza, become sex workers to support themselves. Near the end of the film, Angie Xtravaganza, Venus's "house mother", reacts to news that Venus is found strangled to death and speculates that a disgruntled client killed her. Others shoplift clothing so they can "walk" in the balls. Several are disowned by transphobic and homophobic parents, leaving them vulnerable to homelessness. Some subjects save money for sex reassignment surgery, while a few have extensive surgery; others receive breast implants without undergoing vaginoplasty. According to Livingston, the documentary is a multi-leveled exploration of an African-American and Latino subculture that serves as a microcosm of fame, race, and wealth in the larger US culture.[10] Through candid one-on-one interviews, the film offers insight into the lives and struggles of its subjects and the strength, pride, and humor they display to survive in a "rich, white world." Drag is presented as a complex performance of gender, class, and race, and a way to express one's identity, desires and aspirations. The African-American and Latino community depicted in the film includes a diverse range of sexual identities and gender presentations, from "butch queens" (gay cisgender men) to transgender women, to drag queens, to butch women. The film also documents the origins of "voguing", a dance style in which competing ball-walkers pose and freeze in glamorous positions as if being photographed for the cover of Vogue. However, Livingston maintained in 1991 that the film was not just about dance:[10] This is a film that is important for anyone to see, whether they're gay or not. It's about how we're all influenced by the media; how we strive to meet the demands of the media by trying to look like Vogue models or by owning a big car. And it's about survival. It's about people who have a lot of prejudices against them and who have learned to survive with wit, dignity and energy.

THE ACT OF KILLING (Joshua Oppenheimer, 2012)

The film focuses on the perpetrators of the Indonesian mass killings of 1965-1966 in the present day. The genocide led to the killing of almost a million people, ostensibly for belonging to the local communist community. When Suharto overthrew Sukarno, the President of Indonesia, following the failed coup of the 30 September Movement in 1965, the gangsters Anwar Congo and Adi Zulkadry in Medan (North Sumatra) were promoted from selling black market movie theatre tickets to leading the most powerful death squad in North Sumatra. They also extorted money from the ethnic Chinese as the price for keeping their lives. Anwar is said to have personally killed 1000 people. Today, Anwar is revered by the right wing of a paramilitary organization, Pemuda Pancasila, that grew out of the death squads. The organization is so powerful that its leaders include government ministers who are openly involved in corruption, election rigging and clearing people from their land for developers. Invited by Oppenheimer, Anwar recounts his experiences killing for the cameras, and makes scenes depicting their memories and feelings about the killings. The scenes are produced in the style of their favorite films: gangster, Western, and musical. Various aspects of Anwar and his friends' filmmaking process are shown, but as they dig into Anwar's personal experiences, the reenacted scenes begin to take over the narrative. Oppenheimer has called the result "a documentary of the imagination".[22] Some of Anwar's friends state that the killings were wrong, while others worry about the consequences of the story on their public image. After Anwar plays a victim, he cannot continue. Oppenheimer, from behind the camera, states that it was worse for the victims because they knew they were going to be killed, whereas Anwar was only acting. Anwar then expresses doubts over whether or not he has sinned, tearfully saying he does not want to think about it. He revisits the rooftop where he claims many of his killings took place, and retches repeatedly while describing how he had killed people during the genocide. The dancers from the film's theatrical poster are seen before the credits begin to roll.

THE ENIGMA OF KASPAR HAUSER (Werner Herzog, 1974)

The film follows Kaspar Hauser, who has lived the first seventeen years of his life chained in a tiny cellar with only a toy horse to occupy his time, devoid of all human contact except for a man, wearing a black overcoat and top hat, who fed him. One day, in 1828, the same man takes Hauser out of his cell, teaches him a few phrases, and how to walk, before leaving him in the town of Nuremberg. Hauser becomes the subject of much curiosity, and is exhibited in a circus before being rescued by Professor Georg Friedrich Daumer, who patiently attempts to transform him. Hauser soon learns to read and write, and develops unorthodox approaches to logic and religion; but music is what pleases him most. He attracts the attention of academics, clergy and nobility. He is then physically attacked by the same unknown man who brought him to Nuremberg. The attack leaves him unconscious with a bleeding head. He recovers, but is again mysteriously attacked; this time, stabbed in the chest. Hauser rests in bed describing visions he has had of nomadic Berbers in the Sahara Desert, and then dies. An autopsy reveals an enlarged liver and cerebellum.

IN VANDA'S ROOM (Pedro Costa, 2000)

The film follows the daily life of Vanda Duarte, a heroin addict, in the Fontainhas district, a shanty outskirt of Lisbon. The film's focus is also on the community of the district and its townscape. No Quarto da Vanda follows the drama film Ossos (1997) in which Vanda Duarte plays as an actress. The film took a year to shoot after the (initially) one-person crew settled in the location, where Vanda and the community including Cape Verdean immigrants lived depressed lives. In spite of its three-hour length, the director Pedro Costa made the film in a realist style by using fixed shots entirely. Melancholic life of the community was shot on digital video in a low-key way. Costa said about his impression of the district in a conversation with Jean-Pierre Gorin[1] When I entered the Fontainhas area, there were colors and smells that made me remember the things and events of the past, and also ideas about people to which I am attracted. These ideas nestled close to each other, living together even as they led very solitary lives because of violent and painful separation. A form of interesting and incompatible relationships existed in this.[2] The film also sees the Fontainhas district slowly being demolished. The displaced inhabitants are featured in Costa's next film Juventude em Marcha (Colossal Youth, 2006). The Criterion Collection described the film as "burrow[ing] even deeper into the Lisbon ghetto and the lives of its desperate inhabitants... with the intimate feel of a documentary and the texture of a Vermeer painting" and praised its "unflinching, fragmentary look at a handful of self-destructive, marginalized people".[1]The film follows the daily life of Vanda Duarte, a heroin addict, in the Fontainhas district, a shanty outskirt of Lisbon. The film's focus is also on the community of the district and its townscape. No Quarto da Vanda follows the drama film Ossos (1997) in which Vanda Duarte plays as an actress. The film took a year to shoot after the (initially) one-person crew settled in the location, where Vanda and the community including Cape Verdean immigrants lived depressed lives. In spite of its three-hour length, the director Pedro Costa made the film in a realist style by using fixed shots entirely. Melancholic life of the community was shot on digital video in a low-key way. Costa said about his impression of the district in a conversation with Jean-Pierre Gorin[1] When I entered the Fontainhas area, there were colors and smells that made me remember the things and events of the past, and also ideas about people to which I am attracted. These ideas nestled close to each other, living together even as they led very solitary lives because of violent and painful separation. A form of interesting and incompatible relationships existed in this.[2] The film also sees the Fontainhas district slowly being demolished. The displaced inhabitants are featured in Costa's next film Juventude em Marcha (Colossal Youth, 2006). The Criterion Collection described the film as "burrow[ing] even deeper into the Lisbon ghetto and the lives of its desperate inhabitants... with the intimate feel of a documentary and the texture of a Vermeer painting" and praised its "unflinching, fragmentary look at a handful of self-destructive, marginalized people".[1]

A MOMENT OF INNOCENCE (Mohsen Makhmalbaf, 1996)

The film is a semi-autobiographical account of Makhmalbaf's experience as a teenager when, as a seventeen-year-old, he stabbed a policeman at a protest rally and was jailed. Two decades later, Makhmalbaf made the decision to track down the policeman whom he had injured in an attempt to make amends. A Moment of Innocence is a dramatization of that real event.

STRANGER THAN PARADISE (Jim Jarmusch, 1984)

The film is a three-act story about Willie, who lives in Brooklyn, and his interactions with the two other main characters, his cousin Eva and friend Eddie. In the first act, Willie, a surly small-time gambler and hustler of Hungarian origin, receives a phone call from his Aunt Lotte in Cleveland informing him that his expected visit by his cousin Eva, who is coming from Hungary to live with Lotte, will have to be extended to ten days because Lotte is unexpectedly in the hospital. Willie makes it clear that he does not want Eva there. When Eva arrives, he orders her to speak English rather than Hungarian, as Willie strongly identifies as "American." He grudgingly begins to enjoy her company. He becomes protective, discouraging her from going out alone, or beyond certain streets. At one point, Eva takes the initiative to clean the apartment, which is fairly dirty. When she finds his vacuum cleaner, Willie playfully tries to persuade her that an American expression for vacuuming is "choking the alligator", but Eva doesn't believe him. Despite his growing fondness for Eva, Willie refuses to take her on his trips to the racetrack with Eddie, his good-natured friend and hustling accomplice. Eddie fruitlessly tries to persuade him to bring Eva along. Willie and Eva watch football in the afternoon and late-night sci-fi movies. His esteem for her increases when she returns from an excursion with a few canned food items, a TV dinner "especially" for him, and, to his astonishment, a carton of cigarettes, all obtained without money. He smiles and shakes her hand, telling her "I think you're alright, kid." Eva, smart, pretty, and low-key, likes to play her favorite song, Screamin' Jay Hawkins's "I Put a Spell on You", which Willie dislikes. He buys her a dress, which she dislikes. At this point it becomes evident that Willie has grown attached to Eva. When the ten days have passed, Eva leaves, and Willie is clearly upset to see her go. Eddie, on his way to visit Willie, sees her discard the dress on the street, but doesn't tell Willie. The second act starts a year later and opens with Willie and Eddie winning a large amount of money by cheating at poker. Willie asks Eddie about borrowing his brother-in-law's car, telling him "I just wanna get out'a here, see sump'in different, ya know?". He actually wants to go to Cleveland to see Eva. It is the middle of winter. When they arrive in Cleveland, they stop at Lotte's house, then go to surprise Eva at her job at a local fast-food restaurant, where she is excited and pleased to see them. However, they are soon just as bored as they were in New York. They pass the time by playing cards with Lotte and tagging along with Eva and her would-be boyfriend to the movies. They go to the pier on the frozen snow-covered lakefront to take in the view. Pressed by Eddie, Willie eventually decides to return to New York. When they say their goodbyes, Eva jokingly suggests that if they win big at the racetrack, they should "kidnap" her. Willie responds that they would take her someplace warm, because "this place is awful." The final act begins with Willie suggesting to Eddie, on the road back to New York, that they to go to Florida instead. He then suggests they turn around and pick up Eva—which they do, to Lotte's obvious consternation. The three arrive in Florida and get a motel room. The next morning, the men leave Eva asleep in the room. Eva, awakening alone and with no food or cash, wanders outside in the windy bleak overcast afternoon to the beach, which appears not much more appealing than the windy bleak snowy Lake Erie scene in Cleveland from which they fled. When Willie and Eddie return, Eva's annoyance turns to dismay when the distraught pair reveal they have lost most of their money on dog races. They go for a walk on the beach to figure out what to do. Willie is clearly annoyed with Eddie, as the dog races were his idea. Willie and Eddie decide to go out and bet the last of their money on horse races. Willie still refuses to let Eva come along, so she goes out on the beach for a walk, wearing a flamboyant wide-brimmed straw hat she has just gotten from a gift shop. A drug dealer mistakes her for a courier he has been waiting for and gives her an envelope with a large sum of money, while berating her and her presumed boss. She returns to the motel, leaves some of the money for Willie and Eddie, and writes them a note explaining that she is going to the airport. Willie and Eddie, having won big at the horse races and gone through the better part of a bottle of whisky, return to the motel to find Eva gone. Willie reads her note and they go to the airport to stop her. Eva discusses with an airline ticket agent her options for flying to Europe, and the agent mentions that a plane leaves in 44 minutes for her home city of Budapest. Eva is indecisive. When Willie and Eddie reach the airport, Willie, believing Eva has boarded the Budapest flight, buys a ticket, planning to board the plane and convince Eva to stay. In the next-to-last shot, Eddie stands outside, watching the plane fly overhead, lamenting that Willie was apparently not able to get off the plane, and that both Willie and Eva are headed to Budapest. In the final shot, we see Eva returning to the empty motel room, looking tired and perplexed, toying with the straw hat.

LOS OLVIDADOS (Luis Buñuel, 1950)

The film is about a group of destitute children and their misfortunes in a Mexico City slum. El Jaibo escapes juvenile jail and reunites with the street gang that he leads. They attempt to rob a blind street musician and, failing at first, later track him down, beat him, and destroy his instruments. With the help of Pedro, El Jaibo tracks down Julián, the youngster who supposedly sent him to jail. El Jaibo puts his unharmed arm in a sling, hides a rock in it and confronts Julián, who denies that he reported him to the police and refuses to fight El Jaibo because it wouldn't be a fair fight. As Julián starts to walk away, El Jaibo hits him in the back of the head with the rock. He then beats Julián heavily with a stick and takes his money, killing him. El Jaibo warns Pedro not to report the crime and shares Julián's money with Pedro to make him an accomplice. Alfonso Mejía as Pedro (right, behind) in a publicity photo for the film Pedro's mother resents her son's behavior, and shows that she doesn't love or care for him. Pedro is saddened by this, vows to start behaving better and finds work as apprentice to a blacksmith. One day, El Jaibo comes to talk with him about their secret and, unbeknownst to Pedro, steals a customer's knife from the blacksmith's table. Pedro is accused of the crime and sent to a juvenile rehabilitation program, the "farm school," where he gets into a fight and kills two chickens. The principal tests Pedro by handing Pedro a 50 pesos bill to run errands with. Pedro accepts and leaves with the intention to complete the errands. As soon as he leaves, he encounters El Jaibo, who steals the money. Upset that his attempt to be good was foiled again, Pedro tracks down El Jaibo and fights him. The fight ends in a stalemate, but Pedro announces to the crowd that it was El Jaibo who killed Julián. El Jaibo flees, but the blind man has heard the accusation and tells the police. Pedro tracks El Jaibo down once again to murder him. El Jaibo kills Pedro. While fleeing, El Jaibo encounters the police and, as he tries to run away, the police shoot and kill him. Meche and her grandfather find Pedro's body in their shed. Not wanting to get involved, they dump his body down a garbage-covered cliff. On their way, they pass Pedro's mother, who, though once unconcerned with her disobedient child, is now searching for him.

KINGS OF THE ROAD (Wim Wenders, 1976)

The film is about a projection-equipment repair mechanic named Bruno Winter (Rüdiger Vogler), who meets the depressed Robert Lander (Hanns Zischler), who has just been through a break-up with his wife, after he drives his car into a river in a half-hearted suicide attempt. Bruno allows Robert to ride with him while his clothes dry, rarely speaking while Bruno drives along the Western side of the East German border in a repair truck, visiting worn-out movie theaters. While out on the road, Bruno and Robert encounter several people in various states of despair, including a man whose wife has committed suicide by driving her car into a tree. Robert also drops in on his elderly father to berate him for disrespecting Robert's mother. After Bruno and Robert have a minor brawl after a conversation about Robert and his wife, Robert finally leaves Bruno, though Bruno later spots him riding a train. Bruno continues his visits to theatres, including one that no longer screens films because the owner regards modern films as exploitative.

VIVRE SA VIE (Jean-Luc Godard, 1962)

The film is divided into 12 "episodes", each preceded by an intertitle. Nana Kleinfrankenheim, a beautiful 22-year-old Parisian, leaves her husband Paul and her infant son, hoping to become an actress. The couple meet in a café and play pinball one last time before deciding to end their marriage. Now working in a record store, Nana struggles to earn enough money on her own. She tries to borrow 2,000 francs from several co-workers, but they all refuse. To make matters worse, Nana's landlady throws her out of her apartment until she can pay rent. The next day, Nana meets with Paul, who gives her pictures of her son to keep for herself. Paul invites her to dinner, but Nana declines and explains she is seeing a film with another man. They watch The Passion of Joan of Arc, moving Nana to tears. After the film, Nana ditches her date to meet with a man who promised he would take photos to promote her acting career. When asked to undress for the photos, Nana reluctantly complies. Nana is questioned in a police station for trying to steal 1,000 francs from a woman on the street, who dropped the money in front of her. Nana returned the money out of guilt, but the woman still pressed charges. Walking down a street, Nana notices a female prostitute. A man asks Nana if he can join her, assuming she is also a prostitute; she agrees and they go to a hotel room. Nana asks him for 4,000 francs. He gives her 5,000 and says she can keep the change. Nana is visibly uncomfortable as he attempts to kiss her on the lips. Nana runs into a friend, Yvette, and they go for lunch at a diner. Yvette reveals that she became a prostitute after her husband abandoned her and her children, as it was the easiest way to make money without him. Yvette introduces Nana to her pimp, Raoul, who is also at the diner. Nana impresses Raoul and the three play pinball when, suddenly, a police shootout ensues outside. A bloodied man who has been shot runs inside, prompting Nana to flee the diner. Sometime later at a restaurant, Nana writes a letter asking for work (presumably as a prostitute) to an address Yvette gave her, describing herself and her physical features. Raoul sits down next to her and advises her to stay in Paris, where he can help her make more money. Nana agrees to work for him and they kiss. She quits her job at the record store and abandons her dream of becoming an actress. Raoul explains the basics of prostitution to Nana, including how to conduct herself, how much she charges and earns, when and where she works, the laws and what to do if faced with an unintended pregnancy. Nana soon begins to attract several clients. On one of Nana's days off, Raoul takes her to meet his friends at a bistro, where she dances to a song playing on a jukebox. The men are mostly uninterested, except for a young man playing at a billiard table who buys her a pack of cigarettes. While on the street, Nana picks up a client and takes him to a nearby hotel. The man requests she ask other prostitutes in the hotel to join them, but once one does, the client no longer wants Nana to join, so she sits on the edge of the bed and smokes. Nana is now a seasoned prostitute and blends in with the others on the streets. She is in a hotel room with the young man she had met earlier at the bistro, who reads aloud a passage from "The Oval Portrait" by Edgar Allan Poe. As Nana and the young man express their mutual adoration, she decides she wants to live with him and quit prostitution. When Nana confronts Raoul, they argue, as he was planning to sell her to another pimp. Raoul forces Nana into his car and drives her to the pimp's meeting place. However, the transaction falls through and Nana ends up being killed in a gun battle. The pimps flee the scene, leaving Nana's body lying on the pavement.

BREAKING THE WAVES (Lars von Trier, 1996)

The film is divided into seven chapters and an epilogue, separated by audio-visual art by Per Kirkeby accompanied by music. ChaptersChapter One: Bess Gets MarriedChapter Two: Life with JanChapter Three: Life AloneChapter Four: Jan's IllnessChapter Five: DoubtChapter Six: FaithChapter Seven: Bess' SacrificeEpilogue: The Funeral Bess McNeill is a young and pretty Scottish woman, who has, in the past, had treatment for unspecified mental health illness after the death of her brother. She marries oil rig worker Jan Nyman, a Danish non-churchgoer, despite disapproval from her community and her Free Scottish Presbyterian Calvinist church. Bess is steadfast and pure of heart, but quite simple and childlike in her beliefs. During her frequent visits to the church, she prays to God and carries on conversations with Him in her own voice, believing that He is responding directly through her. Bess is infatuated with Jan and has difficulty living without him when he is away on the oil platform. Jan makes occasional phone calls to Bess in which they express their love and sexual desires. Bess grows needy and prays for his immediate return. The next day, Jan is severely injured in an industrial accident and is flown back to the mainland. Bess believes her prayer was the reason the accident occurred, and that God was punishing her for her selfishness in asking for him to neglect his job and come back to her. No longer able to perform sexually and mentally affected by the paralysis, Jan asks Bess to find a lover. Bess is devastated and storms out. Jan then attempts to commit suicide and fails. He falls unconscious and is readmitted to hospital. Jan's condition deteriorates. He urges Bess to find another lover and tell him the details, as it will be as if they are together and will revitalise his spirits. Though her sister-in-law Dodo constantly reassures her that nothing she does will affect his recovery, Bess begins to believe these suggestions are the will of God and in accordance with loving Jan wholly. Despite her repulsion and inner turmoil at the thought of being with other men, she perseveres in her own sexual debasement as she believes it will save her husband. Bess throws herself at Jan's doctor, but when he rebuffs her, she takes to picking up men off the street and allowing herself to be brutalised in increasingly cruel sexual encounters. In the face of probable expulsion from her church, she proclaims, "You cannot love words. You cannot be in love with a word. You can only love a human being. That's perfection". The entire village is scandalised by these doings, and Bess is excommunicated. Dodo and Jan's doctor agree the only way to keep Bess safe from herself is to have her committed and moved as far away from her husband, whom they believe to be in terminal decline, as possible. Bess decides to make what she thinks is the ultimate sacrifice for Jan: she unflinchingly goes back to a derelict ship, where she is brutally attacked by sailors. Dodo, along with her mother, meet severely-injured Bess in the hospital for the last time, forgiving her for her actions. Bess dies in Dodo's arms. Her church deems her soul to be lost and hell-bound. Unbeknownst to the church elders, Jan and his friends have substituted bags of sand for Bess's body inside her sealed coffin. Without notice to the church elders Dodo condemns them, saying no-one has the right to consign Bess to hell. Later Jan is shown, substantially restored to health despite the doctors' not having thought it possible, burying Bess in the ocean, deep in grief. The film ends in magical realism as Bess's body is nowhere to be seen on the sonar, and church bells ring from on high in the sky.

NUMÉRO DEUX (Jean-Luc Godard, 1975)

The film is divided into two parts. For the first third of the movie, Godard discusses what it takes to make a film (money) and describes how he got the money. Numéro deux begins with a long monologue by Jean-Luc Godard, in an editing suite. Godard discusses his move to a smaller place from Paris, the finances required to make a film and alludes to the relationship between machines and people, bodies as factories and landscapes and the idea that a film studio is a factory in which he is both worker and the boss. He says that creating his movies has become like working in a factory for him: "Now there are only machines. I am the boss, but I am also the worker. There are other factories: in Los Angeles, called Fox and Metro, in Moscow, in Algeria." During this opening sequence of the film, viewers are presented with television monitors featuring characters who will return in the main section of the film. In the second part, the remaining two thirds, each character in the story discusses their quotidian experiences through dialogue. The film observes the sexual and economic life of a middle-class family in a social housing complex in France. The wife complains of her constipation (her inability to make a 'number two,' alluded to in the title) to her children. When the husband discovers that she has slept with another man, he takes his revenge her by sodomizing her, which only makes her constipation worse. During this sex, they realize that their daughter has been watching them. They discuss this complacently. They discuss how a woman's body is described as electricity, charging up and discharging, and sex is work when it becomes something for a child to watch. Godard, and, later in the story, Sandrine and Pierre, describe these things as not being contradictory, but flowing from one to another through the word "and". In one sequence, mother and daughter cavort around in the living room at lunch time - the mother wearing nothing but an untied robe and the daughter in underwear - while the son toys with his meal in the kitchen and holds his head in boredom. Sandrine says: Le plaisir, c'est pas simple. C'est l'angoisse qui est simple, pas le plaisir. C'est le chômage qui est simple, pas le plaisir. Quand il y a du plaisir à être chômeur, alors c'est le fascisme qui s'installe. The children participate in discussions about sex and body parts, and comment on it. Vanessa states: "Sometimes what my parents do is pretty; sometimes it's caca." Sandrine and Pierre's family is "observed" by static cameras that were installed in rooms of an apartment and that were later played back and recorded on 35 mm film. The opening sequence of the film is at full-screen resolution (having been filmed on 35 mm camera directly) but the scenes in the apartment often take up only a small portion of the screen, and play off each other. The sound design emphasises the outside noises (birds singing, children playing) over the people's dialogue, giving the effect of the outside world coming in and affecting what occurs in the home.

THE GRAPES OF WRATH (John Ford, 1940)

The narrative begins just after Tom Joad is paroled from McAlester prison, where he had been incarcerated after being convicted of homicide in self-defense. While hitchhiking to his home near Sallisaw, Oklahoma, Tom meets former preacher Jim Casy, whom he remembers from his childhood, and the two travel together. Arriving at Tom's childhood farm home, they find it deserted. Disconcerted and confused, Tom and Casy meet an old neighbor, Muley Graves, who says the family is at Uncle John Joad's home nearby. Graves says the banks have evicted all the farmers. They have moved away, but Muley refuses to leave the area. The next morning, Tom and Casy go to Uncle John's. Tom's family is loading their remaining possessions into a Hudson sedan converted into a truck; with the crops destroyed by the Dust Bowl, the family has defaulted on their bank loans and their farm has been repossessed. The family sees no option but to seek work in California, which has been described in handbills as fruitful and offering high pay. The Joads put everything they have into making the journey. Although leaving Oklahoma violates his parole, Tom takes the risk, and invites Casy to join the family. Traveling west on Route 66, the Joads find the road crowded with other migrants. In makeshift camps, they hear many stories from others, some returning from California. The group worries that California may not be as rewarding as suggested. The family dwindles on the way: Grampa dies and they bury him in a field; Granma dies close to the California state line; and both Noah (the eldest Joad son) and Connie Rivers (the husband of the pregnant Joad daughter, Rose of Sharon) leave the family. Led by Ma, the remaining members continue on, as nothing is left for them in Oklahoma. Reaching California, they find the state oversupplied with labor; wages are low, and workers are exploited to the point of starvation. The big corporate farmers are in collusion and smaller farmers suffer from collapsing prices. All police and state law enforcement authorities are allied with the growers. At the first migrant Hooverville camp the Joads stop at, Casy is arrested for knocking down a deputy sheriff who is about to shoot a fleeing worker for alerting others that the labor recruiter, travelling with the officer, will not pay the wages he is promising. Weedpatch Camp, one of the clean, utility-supplied camps operated by the Resettlement Administration, a New Deal agency, offers better conditions but does not have enough resources to care for all the needy families, and it does not provide work or food. Nonetheless, as a Federal facility, the camp protects the migrants from harassment by local deputies. How can you frighten a man whose hunger is not only in his own cramped stomach but in the wretched bellies of his children? You can't scare him - he has known a fear beyond every other. —Chapter 19 In response to the exploitation, Casy becomes a labor organizer and tries to recruit for a labor union. The Joads find work as strikebreakers in a peach orchard. After picking for most of the day, they are only paid enough to buy food for that night's supper and some for the next day. The next morning the peach plantation announces that the pay rate for the picked fruit has been reduced by half. Casy is involved in a strike that turns violent. When Tom witnesses Casy being struck and killed with a pickaxe, he kills the attacker and takes flight. The Joads quietly leave the orchard to work at a cotton farm where Tom risks being arrested, and possibly lynched, for the homicide. Knowing he must leave to avoid capture and protect his family being blacklisted from working, Tom bids his mother farewell and vows to work for the oppressed. The family continues to pick cotton and pool their daily wages to buy food. Upon giving birth, Rose of Sharon's baby is stillborn. Ma Joad remains steadfast and forces the family through the bereavement. With the winter rains, the Joads' dwelling is flooded and the car disabled, and they move to higher ground. In the final chapter of the book, the family takes shelter from the flood in an old barn. Inside they find a young boy and his father, who is dying of starvation. Ma realizes there is only one way to save the man. She looks at Rose of Sharon and a silent understanding passes between them. Rose of Sharon, left alone with the man, goes to him and has him drink her breast milk.

THE GODFATHER PART II (Francis Ford Coppola, 1974)

The film interweaves between events some time after The Godfather and the early life of Vito Corleone. Vito[edit] In 1901, nine-year-old Vito Andolini flees his country after his whole family is killed in Corleone, Sicily when his father insults local Mafia chieftain Don Ciccio. Vito escapes to New York City and is registered on arrival as "Vito Corleone". In 1917, Vito lives in New York with his wife, Carmela, and their infant son, Sonny. He loses his job due to the interference of Don Fanucci, a local Black Hand extortionist. His neighbor Peter Clemenza asks Vito to hide a bag of guns; as thanks, Clemenza enlists Vito's help in stealing a rug, which he gives to Carmela. The Corleones have three more children: sons Fredo and Michael, and daughter Connie. Meanwhile, Vito, Clemenza, and new partner Salvatore Tessio make income by stealing goods and reselling them door-to-door. This enterprise attracts the attention of Fanucci, who extorts them. Vito convinces his skeptical partners that he will talk Fanucci into accepting a smaller payment. During a neighborhood festa, Vito pays an incredulous Fanucci a much smaller amount and is offered a job as an enforcer. Vito later kills Fanucci in his apartment. Vito becomes a formidable and well-respected community member by helping locals in exchange for "favors". In 1923, Vito and his family visit Sicily, during which he and his business partner Don Tommasino visit Don Ciccio, ostensibly to ask for Ciccio's blessing on their olive oil business. Ciccio asks for the name of Vito's father; Vito reveals his identity and stabs Ciccio to death, avenging his family. During Vito's 50th birthday party on December 7, 1941 (occurring on the same day that the Japanese bomb Pearl Harbor), while the family waits to surprise Vito, Michael announces that he has dropped out of college and joined the Marines, angering Sonny and surprising Hagen; Fredo is the only member of the family to support his decision. Vito is heard opening the door and everyone leaves the room to welcome him except Michael. Michael[edit] In 1958, during his son's First Communion party at Lake Tahoe, Michael has a series of meetings in his role as the don of the Corleone crime family. Frank Pentangeli, a Corleone capo, is dismayed that Michael refuses to help defend his Bronx territory against the Rosato brothers, who work for Hyman Roth, a Jewish Mob boss and long-standing Corleone business partner. Senator Pat Geary expects a bribe in exchange for helping Michael obtain casino gaming licenses and insults Italians generally and the Corleones specifically. Michael predicts that Geary will aid him with the licenses but will not be paid. That night, a failed assassination attempt at his home prompts Michael to suddenly depart after confiding in consigliere Tom Hagen that he suspects a traitor within the family. Michael suspects Roth planned the assassination, but falsely tells Roth he suspects Pentangeli. In New York City, under Michael's instructions, Pentangeli attempts to make peace with the Rosatos, but they try to kill him. The attempt fails when a police officer enters the bar where the Rosatos are trying to kill Pentangeli, resulting in the Rosatos fleeing and a brief street shootout where Corleone soldier Willie Cicci is wounded. In Nevada, Tom Hagen is called to a Carson City brothel run by Michael's older brother Fredo, where Geary has been implicated in the death of a prostitute. Unaware that Michael arranged the "problem," Geary accepts Tom's offer to take care of it in return for Geary's political support. A sickly Roth, Michael, and several of their partners travel to Havana to discuss their future Cuban business prospects under the cooperative government of Fulgencio Batista. Michael becomes reluctant to continue operating in Cuba given the ongoing Cuban Revolution. On New Year's Eve, Fredo pretends not to know Johnny Ola, Roth's right-hand man, but later inadvertently reveals they know each other, leading Michael to realize that Fredo is the traitor. Michael orders hits on Ola and Roth; his enforcer strangles Ola with a coat hanger but is killed by Cuban soldiers as he tries to smother Roth. Batista abdicates due to rebel advances. During the ensuing chaos, Michael, Fredo, and Roth separately escape Cuba. Back home, Michael is told that his wife Kay has miscarried. In Washington, D.C., a Senate committee on organized crime is investigating the Corleone family, but Geary staunchly defends them. Pentangeli agrees to testify against Michael, who he believes had betrayed him to the Rosatos, and is placed under witness protection. On returning to Nevada, Fredo tells Michael that he did not know that Roth had intended to kill him, but that he resents being regarded as stupid by the family and feels that he should have taken over the family after their father's death. Michael disowns Fredo, but gives orders that he is not to be harmed while their mother is alive. Michael sends for Pentangeli's brother from Sicily, and Pentangeli, after seeing his brother in the hearing room, retracts his previous statement indicting Michael in organized crime; the hearing dissolves in an uproar. Kay reveals to Michael that she actually had an abortion, not a miscarriage, and that she intends to leave him and take their children. Outraged, Michael strikes Kay, banishes her from the family, and takes sole custody of the children. Carmela dies some time later, and Michael hurries to wrap up loose ends. At the funeral, Michael appears to forgive Fredo at Connie's behest, but exchanges a glance with Corleone enforcer Al Neri suggesting that Fredo is to be killed. Roth is forced to return to the United States after being refused asylum and entry to Israel. On Michael's orders, Roth is assassinated by Corleone caporegime Rocco Lampone during an interview at the Miami International Airport; Lampone is killed in turn by a federal agent while attempting to flee the scene. At Pentangeli's compound, Hagen visits and the two discuss how failed plotters against the Roman emperor often committed suicide in return for clemency for their families; Pentangeli is later found dead in his bathtub, having slit his wrists. Kay visits her children; as she is saying goodbye, Michael arrives and closes the door on her. Soon afterward, Michael instructs his son not to accompany Fredo and Neri on a fishing trip, and then watches from his den as Neri shoots Fredo dead. Michael sits alone at the family compound, looking out over the lake.

IVAN'S CHILDHOOD (Andrei Tarkovsky, 1962)

The film is mainly set at the front during World War II, where the Soviet army is fighting the invading German Wehrmacht. The film features a non-linear plot with frequent flashbacks. After a brief dream sequence, Ivan Bondarev, a 12-year-old Russian boy, wakes up and crosses a war-torn landscape to a swamp, then swims across a river. On the other side, he is seized by Russian soldiers and brought to the young Lieutenant Galtsev, who interrogates him. The boy insists that he call "Number 51 at Headquarters" and report his presence. Galtsev is reluctant, but when he eventually makes the call, he is told by Lieutenant-Colonel Gryaznov to give the boy pencil and paper to make his report, which will be given the highest priority, and to treat him well. Through a series of dream sequences and conversations between different characters, it is revealed that Ivan's mother and sister (and probably his father, a border guard) have been killed by German soldiers. He got away and joined a group of partisans. When the group was surrounded, they put him on a plane. After the escape, he was sent to a boarding school, but he ran away and joined an army unit under the command of Gryaznov. Burning for revenge, Ivan insists on fighting on the front line. Taking advantage of his small size, he is successful on reconnaissance missions. Gryaznov and the other soldiers grow fond of him and want to send him to a military school. They give up their idea when Ivan tries to run away and rejoin the partisans. He is determined to avenge the death of his family and others, such as those killed at the Maly Trostenets extermination camp (which he mentions that he has seen). A subplot involves Captain Kholin and his aggressive advances towards a pretty army nurse, Masha, and Galtsev's own undeclared and probably shared feelings for her. Much of the film is set in a room where the officers await orders and talk, while Ivan awaits his next mission. On the walls are scratched the last messages of doomed prisoners of the Germans. Finally, Kholin and Galtsev ferry Ivan across the river late at night. He disappears through the swampy forest. The others return to the other shore after cutting down the bodies of two Soviet scouts hanged by the Germans. The final scenes then switch to Berlin under Soviet occupation after the fall of the Third Reich. Captain Kholin has been killed in action. Galtsev finds a document showing that Ivan was caught and hanged by the Germans. As Galtsev enters the execution room, a final flashback of Ivan's childhood shows the young boy running across a beach after a little girl in happier times. The final image is of a dead tree on the beach.

TO KILL A MOCKINGBIRD (Robert Mulligan, 1962)

The film is narrated by the adult Jean Louise "Scout" Finch. Young Scout and her pre-teen older brother Jem live in the fictional town of Maycomb, Alabama, during the early 1930s. Despite the family's modest means, the children enjoy a happy childhood, cared for by their widowed father, Atticus Finch, and the family's African-American housekeeper, Calpurnia. During the summer, Jem, Scout, and their friend Dill play games and often search for Arthur "Boo" Radley, an odd, reclusive neighbor who lives with his brother Nathan. The children have never seen Boo, who rarely leaves the house. On different occasions, Jem has found small objects left inside a tree knothole on the Radley property. These include a broken pocket watch, an old spelling bee medal, a pocket knife, and two carved soap dolls resembling Jem and Scout. Atticus, a lawyer, strongly believes all people deserve fair treatment, in turning the other cheek, and in defending what you believe. Many of Atticus' clients are poor farmers who pay for his legal services in trade, often leaving him fresh produce, firewood, and so on.[5] Atticus' work as a lawyer often exposes Scout and Jem to the town's racism, aggravated by poverty. As a result, the children mature more quickly. Atticus is appointed to defend Tom Robinson, an African-American accused of raping a Caucasian girl, Mayella Ewell. Atticus accepts the case, heightening tension in the town and causing Jem and Scout to experience schoolyard taunts. One evening before the trial, as Atticus sits in front of the local jail to safeguard Robinson, a lynch mob arrives. Scout, Jem, and Dill unexpectedly interrupt the confrontation. Scout, unaware of the mob's purpose, recognizes Mr. Cunningham and asks him to say hello to his son Walter, her classmate. Cunningham becomes embarrassed, and the mob disperses. At the trial, it is alleged that Tom entered the Ewell property at Mayella's request to chop up a chifforobe and that Mayella showed signs of having been beaten around that time. One of Atticus' defensive arguments is that Tom's left arm is disabled due to a farming accident years ago, yet the supposed rapist would have had to mostly assault Mayella with his left hand before raping her. Atticus noted that Mayella's father, Bob Ewell, is left-handed, implying that he beat Mayella because he caught her seducing a young African-American man (Robinson). Atticus also states that Mayella was never examined by a doctor after the supposed rape. Taking the stand, Tom denies he attacked Mayella, but states that she kissed him against his will. He testifies that he had previously assisted Mayella with various chores at her request because he "felt sorry for her" - words that incite a swift, negative reaction from the prosecutor, and a gasp from the Caucasian audience. In his closing argument, Atticus asks the all-Caucasian male jury to cast aside their prejudices and focus on Tom's obvious innocence. However, Tom is found guilty. As Atticus exits the courtroom, the African-American spectators in the balcony rise to show their respect and appreciation. When Atticus arrives home, Sheriff Tate informs him that Tom was killed during his transfer to prison, apparently while attempting to escape. Atticus, accompanied by Jem, goes to the Robinson home to relay news of Tom's death. Bob Ewell appears and spits in Atticus' face. Autumn arrives, and Scout and Jem attend an evening school pageant in which Scout portrays a ham. After the pageant, Scout is unable to find her dress and shoes, forcing her to walk home with Jem while wearing the large, hard-shelled costume. While cutting through the woods, Scout and Jem are attacked. Scout's cumbersome costume protects her but restricts her vision. The attacker knocks Jem unconscious, but is himself attacked (and killed) by a second man, unseen by Scout. Scout escapes her costume and sees the second man carrying Jem towards their house. Scout follows them and runs into the arms of a frantic Atticus. Still unconscious, Jem has his broken arm treated by Doc Reynolds. Scout tells Sheriff Tate and her father what happened, then notices a strange man behind Jem's bedroom door. Atticus introduces Scout to Arthur Radley, whom she knows as Boo. It was Boo who rescued Jem and Scout, overpowering Bob Ewell and carrying Jem home. The sheriff reports that Ewell, apparently seeking revenge for Atticus humiliating him in court, is dead at the scene of the attack. Atticus mistakenly assumes Jem killed Ewell in self-defense, but Sheriff Tate realizes the truth - Boo killed Ewell defending the children. His official report will state that Ewell died falling on his knife. He refuses to drag the painfully shy, introverted Boo into the spotlight for his heroism, insisting it would be a sin. As Scout escorts Boo home, she draws a startlingly precocious analogy: comparing the unwelcome public attention that would have been heaped on Boo, with the killing of a mockingbird that does nothing but sing.

SALÒ, OR THE 120 DAYS OF SODOM (Pier Paolo Pasolini, 1975)

The film is separated into four segments with intertitles, inspired by Dante's Divine Comedy:[8] Anteinferno[edit] In 1944, in the Republic of Salò, the Fascist-occupied portion of Italy, four wealthy men of power - the Duke, the Bishop, the Magistrate, and the President - agree to marry each other's daughters as the first step in a debauched ritual. They rule that when they get to the mansion, their daughters must be completely naked at all times. They recruit four teenage boys to act as guards (dressed with uniforms of Decima Flottiglia MAS) and four young soldiers (called "studs", "cockmongers", or "****ers"), who are chosen because of their large penises. The army and secret police is sent to round up many youths, of whom nine young men and nine young women are hand-picked and brought to a palace near Marzabotto. One of the boys tries to escape on the way, but is shot dead. Circle of Manias / Girone delle Manie[edit] Accompanying the libertines at the palace are four middle-aged prostitutes, also collaborators, whose job it is to orchestrate debauched interludes for the men, who sadistically exploit their victims. During the many days at the palace, the four men devise increasingly abhorrent tortures and humiliations for their own pleasure. During breakfast, the daughters enter the dining hall naked to serve food. One of the studs trips and rapes a daughter in front of the crowd, who laugh at her cries of pain. Intrigued, the President moons several slaves before prompting the stud to perform anal sex on him and the Duke sings "Sul Ponte di perati". Signora Vaccari uses a mannequin to demonstrate to the young men and women how to properly masturbate a penis and one of the girls tries to escape, only to have her throat cut. Signora Vaccari continues with her story. Two victims named Sergio and Renata are forced to get married. The ceremony is interrupted when the Duke fondles several victims and sex workers. At the end, Sergio and Renata are forced to fondle each other and the men rape them to stop them from having sex with each other. During this, the Magistrate engages with the Duke in three-way intercourse. On another day, the victims are forced to get naked and act like dogs. When one of the victims, Lamberto, refuses, the Magistrate whips him and tortures the President's daughter by tricking her into eating a slice of polenta containing nails. Circle of Shit / Girone della Merda[edit] Signora Maggi relates her troubled childhood and her coprophilia. As she tells her story, the President notices that one of the studs has an erection and fondles him; another stud uses a female victim's hand to masturbate himself. She also explains how she killed her mother over a dispute about her prostitution and Renata cries, remembering the murder of her own mother. The Duke, sexually excited at the sound of her cries, begins verbally abusing her. The Duke orders the guards and studs to undress her. During this, she begs God for death and the Duke punishes her by defecating on the floor and forcing her to eat his feces with a spoon. The President leaves to masturbate. Later, at a mock wedding reception for the Magistrate and Sergio, the victims are presented with a meal of human feces. During a search for the victim with the most beautiful buttocks, Franco is picked and promised death in the future. Circle of Blood / Girone del Sangue[edit] Later, there is a Black Mass-like wedding between the studs and the men of power while the latter are dressed in drag. The men angrily order the children to laugh, but they are too grief-stricken to do so. The Pianist and Signora Vaccari tell dark jokes to make the victims laugh. The wedding ceremony ensues with each man of power exchanging rings with a stud. After the wedding, the Bishop consummates the marriage and receives intense anal sex from his stud. The Bishop then leaves to examine the captives in their rooms, where they start systematically betraying each other: Claudio reveals that Graziella is hiding a photograph, Graziella reveals that Eva and Antiniska are having a secret sexual affair. Victim Umberto is appointed to replace Ezio, who is shot to death for having sex with one of the staff. Toward the end, the remaining victims are called out to determine which of them will be punished. Graziella is spared due to her betrayal of Eva, and Rino is spared due to his submissive relationship with the Duke. Those who are called are given a blue ribbon and sentenced to a painful death, while those who have not been called, as long as they kept collaborating with the libertines, can hope to return home. The victims huddle together and cry and pray in the bathroom. They are then taken outside and raped, tortured and murdered through methods such as branding, hanging, scalping, burning and having their tongues and eyes cut out, as each libertine takes his turn to watch as a voyeur. The soldiers shake hands and bid each other farewell. The Pianist, looking out an open window, suddenly realises with horror what atrocities are being committed and, climbing out, throws herself to her death. Two young soldiers, who had witnessed and collaborated in all the atrocities, dance a simple waltz together; one asks the name of the other's girlfriend back at home.

RAISE THE RED LANTERN (Zhang Yimou, 1991)

The film is set in 1920s Republican era. Nineteen-year-old Songlian (played by Gong Li), an educated woman whose father has recently died and left the family bankrupt, is forced by her stepmother to marry into the wealthy Chen family, becoming the fourth wife or, as she is referred to, the Fourth Mistress (Sì Tàitai) of the household. Arriving at the palatial abode, she is at first treated like royalty, receiving sensuous foot massages and brightly lit red lanterns, as well as a visit from her husband, Master Chen (Ma Jingwu), the master of the house, whose face is never clearly shown. Songlian soon discovers, however, that not all the wives in the household receive the same luxurious treatment. In fact, the master decides on a daily basis the wife with whom he will spend the night; whomever he chooses gets her lanterns lit, receives the foot massage, gets her choice of menu items at mealtime, and gets the most attention and respect from the servants. Pitted in constant competition against each other, the three wives are continually vying for their husband's attention. The First Mistress, Yuru (Jin Shuyuan), appears to be nearly as old as the master himself. Having borne a son decades earlier, she seems resigned to live out her life as forgotten, always passed over in favor of the younger women. The Second Mistress, Zhuoyun (Zhuóyún, Cao Cuifen), befriends Songlian, complimenting her youth and beauty, and giving her expensive silk as a gift; she also warns her about the Third Mistress, Meishan (Méishan, He Saifei), a former opera singer who is spoiled and who becomes unable to cope with no longer being the youngest and most favored of the master's playthings. As time passes, though, Songlian learns that it is really Zhuoyun, the Second Mistress, who is not to be trusted; she is subsequently described as having the face of the Buddha, yet possessing the heart of a scorpion. She also has to deal with her personal maid, Yan'er (Yàn'ér, played by Kong Lin), who hates her and dreams of being married after a few brief flings with the Master. Songlian feigns pregnancy, attempting to garner the majority of the master's time and, at the same time, attempting to become actually pregnant. Zhuoyun, however, is in league with Yan'er who finds and reveals a pair of bloodied undergarments, suggesting that Songlian had recently had her period, and discovers the pregnancy is a fraud. Zhuoyun summons the family physician, feigning concern for Songlian's "pregnancy". Doctor Gao (Gao-yisheng, Cui Zhigang), who is secretly having an illicit affair with Third Mistress Meishan, examines Songlian and determines the pregnancy to be a sham. Infuriated, the master orders Songlian's lanterns covered with thick black canvas bags indefinitely. Blaming the sequence of events on Yan'er, Songlian reveals to the house that Yan'er's room is filled with lit red lanterns, showing that Yan'er dreams of becoming a mistress instead of a lowly servant; it is suggested earlier that Yan'er is in love with the master and has even slept with him in the Fourth Mistress' bed. Yan'er is punished by having the lanterns burned while she kneels in the snow, watching as they smolder. In an act of defiance, Yan'er refuses to humble herself or apologize, and thus remains kneeling in the snow throughout the night until she collapses. Yan'er falls sick and ultimately dies after being taken to the hospital. One of the servants tells Songlian that her former maid died with her mistress's name on her lips. Songlian, who had briefly attended university before the passing of her father and being forced into marriage, comes to the conclusion that she is happier in solitude; she eventually sees the competition between the women as a useless endeavor, as each woman is merely a "robe" that the master may wear and discard at his discretion. As Songlian retreats further into her solitude, she begins speaking of suicide; she reasons that dying is a better fate than being a wife in the Chen household. On her twentieth birthday, severely intoxicated and despondent over her bitter fate, Songlian inadvertently blurts out the details of the love affair between Meishan and Doctor Gao to Zhuoyun, who later catches the adulterous couple together. Following the old customs and traditions, Meishan is dragged to a lone room (also known as the room of death earlier on) on the roof of the estate and is hanged to death by the master's servants. Songlian, already in agony due to the fruitlessness of her life, witnesses the entire episode and is emotionally traumatized. The following summer, after the Master's marriage to yet another concubine, Songlian is shown wandering the compound in her old schoolgirl clothes, appearing to have gone completely insane.

FLOWERS OF SHANGHAI (Hou Hsiao-hsien, 1998)

The film is set in the elegant brothels of Shanghai, called Changsan Shuyu (長三書寓; "Flower Houses"), in 1884. The story is about the courtesans in these houses, known as "shi sen" or "flower girls," who are top-notch prostitutes, depicting in great detail their relationships with the wealthy patrons, which are semi-monogamous and often last for a long period of time, and the daily activities in the houses. The main courtesans in the film are Crimson, Jasmin, Jade, Pearl and Emerald. Crimson belongs to the Huifang Enclave (薈芳里), while Jasmin works at the East Hexing Enclave (東合興里). Jade and her friend Pearl work in the Gongyang Enclave (公陽里), and Emerald resides in the Shangren Enclave (尚仁里). The relationships between the wealthy patrons and the courtesans Master Wang, who leaves the courtesan Crimson at the end of their two-and-a-half-year relationship after he is refused her hand in marriage. He falls for the younger courtesan Jasmin, angering Crimson. However, Master Wang still has feelings for Crimson. When he finds out she is having an affair with an actor, he launches into a drunken rage. He agrees to marry Jasmin and departs for Guangdong after receiving a promotion. It is later revealed in conversation between other characters that Jasmin had an affair with Wang's nephew. Another courtesan, Jade, has been given a promise by her lover, the young and immature Master Zhu, that if they cannot be married together, they will die together. When it is apparent that the marriage will not occur, she gives Zhu opium in an attempt to poison him before attempting to drink opium herself. Emerald yearns for freedom from life in a brothel and is supported by Luo, one of her patrons. As a child, she was bought for $100 by her auntie who insists that freedom costs many times that value ($3,000); the negotiation goes on throughout the film. With the help of Master Hong and Emerald, Luo negotiates a satisfactory price and takes Emerald away from the brothel. Regarding the English title of the film, the meaning of "sing-song girls" does not refer to prostitutes who sing for a living. Eileen Chang's commentary on the Mandarin text makes it clear: "shi sen" in Goyuitian is pronounced as "singsong". That is probably why the title is translated as "sing-song girls." - not the translation of "singing girl". The term "singsong girl" was a new term from the late 1920s to the 1930s, after there were dancing girls.[4]

BLUE (Derek Jarman, 1993)

The film is split into two halves, with differing strands of narration. The first story, intercut with the second, tells the adventures of Blue, as a character and color. Blue is described as getting into fights with other colors, "Yellowbelly scorches the earth with its accursed breath...", to adventures, "Marco Polio stumbles across the blue mountains...". The other story features the day-to-day life of Derek Jarman, as a gay man living in 1990s London, and the complications of living with AIDS. Some of the events mentioned are realistic and true, such as visiting a café with friends, discussing the war in Sarajevo, and having difficulty with day-to-day life, such as putting clothes on backwards. Others feel more dreamlike, such as when Jarman wonders what is beyond the sky. This contrasts with thoughts of his health and how long he has left until he dies, the weakening of his body, and eventual downfall of his eyesight. There are also a handful of sections in which Jarman daydreams. The narration makes mention of walking across the sky, and to wondering what an astronaut may be like. The film's final moments consist of a set of names, being repeated. "John. Daniel. Howard. Graham. Terry. Paul". These names are all former lovers and friends of Jarman who had died of AIDS. Jarman himself would succumb to AIDS on 19 February 1994 at the age of 52, just months after the film's premiere.

PEOPLE ON SUNDAY (Robert Siodmak & Edgar G. Ulmer, 1930)

The film opens at Bahnhof Zoo train station one Saturday morning. Its opening scenes show the bustling traffic of central Berlin. The movie follows five central characters over a weekend. Wolfgang (Wolfgang von Waltershausen), a handsome young man, sees a pretty woman (Christl Ehlers) who seems to be waiting in the street for someone who has not arrived. He takes her for an ice cream, teases her about having been stood up and invites her to a picnic the following day. Erwin (Erwin Splettstößer) is doing his day job as a taxi driver. While he is fixing the car, his depot receives a phone call from his girlfriend, Annie (Annie Schreyer), who wants to know if they are going to the cinema that evening. Erwin clearly is not keen to go. (One of the motifs of the movie is to play down the importance of the cinema in the lives of these young Berliners.) At the end of the day, Erwin returns home to find Annie moping about in their threadbare apartment. The couple bicker continually as they prepare to go to the cinema. The first fight is regarding the pictures of movie stars in their bathroom. Annie cherishes the pictures of various actors while Erwin enjoys the photos of actresses, and the couple tear up each other's pictures during the squabble. Another argument arises over whether Annie should wear the brim of her hat up or down. (Another theme of the movie is the self-centred machismo represented by Erwin and Wolfgang.) Wolfgang arrives in the middle of this argument and Annie never gets to the cinema; Erwin and Wolfgang drink beer instead and plan to go to the countryside the following day. The next morning, the two men take a train to Nikolassee, accompanied by Christl and her friend Brigitte (Brigitte Borchert). Annie stays home, sleeping away the day. The four daytrippers walk to Wannsee, along with many other Berliners, to enjoy the beaches and parks. As the four friends have a picnic, swim in the lake and play records on a portable gramophone, Wolfgang flirts with Brigitte, to the annoyance of Christl. He later play-chases Brigitte into the forest, where they find a secluded spot and make love. Afterwards, the four friends take a boat-ride, during which Erwin and Wolfgang flirt with two girls who are in a rowing boat. As they head back into Berlin, Brigitte suggests to Wolfgang that they meet again the following Sunday. He agrees, but Erwin reminds him afterwards that they had planned instead to attend a football match. Wolfgang's decision remains unresolved. Erwin returns to find Annie still lying in bed, slowly waking up to realize this was the day for their excursion. Erwin angrily shows her what time it is. The final scene returns to shots of the streets of Berlin. The closing series of intertitles announces: "And then on Monday... it is back to work... back to the everyday... back to the daily grind... Four... million... wait for... the next Sunday. The end.".

EL (Luis Buñuel, 1953)

The film opens during a foot washing ceremony in a Christian church where a man named Francisco sees an attractive young woman from across the room. She leaves the church and escapes Francisco, despite his attempt to chase after her. Another day, Francisco finds her again in the church. He works up the courage to speak with her, but she seems uninterested, and insists that they can never speak to each other again. Francisco follows her to a restaurant and sees her meeting with Raul, a close friend of his. Francisco later meets with Raul, who divulges that he and the young lady, Gloria, are engaged to be married. Francisco conspires to woo Gloria away from Raul by throwing a party and arranging for the couple to attend. When Gloria finds out that Francisco is the host, she seems wary of this ruse, but ultimately falls for his charm and social standing. The film jumps to the future, where Gloria and Francisco are married, and have been for quite some time. One day, Raul is driving through the city and finds Gloria. As she tells the story to Raul, the film enters a flashback where the first weeks of Gloria and Francisco's marriage are reconstructed. In the flashback, Gloria tells Raul of how horrible her marriage is, because Francisco has turned out to be a jealous, paranoid husband whose socially upright, just appearance falls apart behind closed doors. Throughout the film, Francisco is in the midst of a lawsuit regarding his property holdings, which causes him considerable duress. For her part, Gloria is frustrated, saddened and ultimately frightened by her husband's treatment. She believes she has always acted innocently and is genuinely surprised by Francisco's accusations, but no one will take her side. Gloria's mother believes Francisco to be a decent man (he is portrayed as an upstanding member of the community), and even their Pastor (Father Velasco) admonishes Gloria for her untoward behavior with other men, and vouches for her husband (while revealing, to Gloria's astonishment, that Francisco had maintained his virginity up until their marriage). After Francisco finds out that she confessed everything to Father Velasco, he shoots her with a revolver loaded with blanks in order to "teach her a lesson." But Gloria tells Raul that Francisco became more caring and forgiving after this episode. Relations between husband and wife become better for a time, but Francisco's suave veneer continues to fray when he asks Gloria to spend the day with him and takes her to the bellower at the top of a church spire. In a moment of honesty, Francisco finds himself in a misanthropic tirade about the "worms" down below. His rant escalates until he spontaneously begins to strangle Gloria, threatening to throw her over the rail to the sidewalk below to punish her in jealous rage. Gloria pulls herself from danger and runs away. It is only at this point that the flashback comes full circle, and Gloria encounters Raul. After hearing the story, Raul suggests that she leave her husband. Gloria returns home willingly, but Francisco sees that someone brought her to the house, and demands to know who it was. He is devastated to learn that Gloria had been with Raul. The pattern of Francisco's jealously is unbroken and he contemplates divorce. But he seeks reconciliation after apparently realizing that Gloria has never in fact had an affair. Gloria confesses that "she was confused," but that she had to confide in somebody, and that somebody was Raul. When Francisco realizes that she had told Raul about their marital problems, he regards it as an utter betrayal, and says angrily that he can't forgive her for it. That night, Francisco attempts to infibulate Gloria in her sleep. As he is trying to tie her up with a rope, she awakes and screams. This scares him off, and he cowers back into his room for the night in dismay and breaks down, as though his actions are spiraling out of his control. The next morning he finds that she has run away. Francisco gets his revolver, and runs off to search for her. He first goes to Raul's office, but he is not there. Outside he sees Raul and Gloria riding in a car together. In an increasingly unhinged fashion, he chases after them all the way to their destination: the church from the beginning of the film. Inside, he discovers that it is not Raul and Gloria after all, but another couple. Francisco descends into madness, and hallucinates that the entire congregation is laughing at him. He looks deliriously around the church until he finally sees the priest, a good friend of his, joining in the laughter. He charges the altar and attacks the priest, and the congregation rushes to the stage. As they pull Francisco off the priest, the priest continues to stick up for Francisco, saying, "don't hurt him, he's my friend; he's gone mad!" Much later, Gloria, Raul, and a small child pay a visit to a monastery. It is revealed that Francisco has been taken in by the monks and has been taught in their ways. They meet with the head monk, but do not talk with Francisco, not wishing to reopen old wounds. Gloria and Raul have named their child "Francisco",and is implied that the child may not be Raul's. The head monk later tells Francisco of their visit, which he had already observed from afar. He confirms Francisco's suspicion that the child is the son of Gloria and Raul. Francisco affirms that, ultimately, "time has proven my point." However, he says this not in resentment but in resignation, as he follows with, "but to what avail?" The final shot of the film shows him slowly wandering through the monastery gardens into a dark doorway.

SENSO (Luchino Visconti, 1954)

The film opens in the La Fenice opera house in Venice during a performance of Il Trovatore. At the close of Manrico's rousing aria Di quella pira, the opera is interrupted by a boisterous protest by Italian Nationalists against the occupying Austrian troops present in the theater. Livia Serpieri, an Italian countess, unhappily married to a stuffy older aristocrat, witnesses this and tries to conceal the fact that her cousin Marchese Roberto Ussoni has organized the protest. During the commotion, she meets a dashing young Austrian Lieutenant named Franz Mahler, and is instantly smitten with him. The two begin a secret love affair. Despite the fact that Franz was responsible for sending Roberto into exile for his radical behavior, Livia vainly pretends not to be aware of it. Although Franz is obviously using Livia for her money and social status, Livia throws herself into an affair of complete sexual abandon with Franz, giving away her money and not caring what society thinks about her. But soon, Franz begins failing to show up for their trysts and Livia becomes consumed by jealousy and paranoia. The war finally forces the lovers apart, with Livia's husband taking her away to their villa in the country in order to avoid the carnage. Late one night, Franz arrives on the estate, and slips into Livia's bedroom. He asks her for more money to bribe the army doctors into keeping him off the battlefield; Livia complies, giving away all of the money she was holding for Roberto, who intended to supply it to the partisans fighting the Austrians. Livia's betrayal leads to tragic consequences; the Austrians overwhelm the under-equipped Italians. Eventually, Livia is almost driven mad by the fact that she is unable to see Franz, but rejoices when a letter from him finally arrives. In the letter, Franz thanks Livia for the financial support that helped him stay away from the front. He advises Livia not to look for him, but she does not listen. As soon as possible, Livia, still grasping the letter, boards a carriage and hurries to Verona to find her lover. Once there, Livia makes her way to the apartment, which she herself has rented for Franz. What she finds is a drunken, self-loathing rogue (Franz), in the company of a young prostitute, openly mocking Livia for accepting his abuse. After forcing her to sit and drink with the prostitute, Franz brutally throws Livia out of his rooms. She finds herself in the streets, filled with drunken, amorous Austrian soldiers. Livia realizes that she still has Franz's letter, but nothing remains now except mutual self-destruction. Her sanity slipping, Livia heads to the headquarters of the Austrian Army, where she hands Franz's letter to a General, thereby convicting Franz of treason. Although the General sees that Livia is acting out of spite for being cuckolded, he is forced to comply and Franz is executed by firing squad. Livia, now insane, runs off into the night, crying out her lover's name.

LA BELLE ET LA BÊTE (Jean Cocteau, 1946)

While scrubbing the floor at home, Belle (Josette Day) is interrupted by her brother's friend Avenant (Jean Marais) who tells her she deserves better and suggests they get married. Belle rejects Avenant, as she wishes to stay home and take care of her father, who has suffered much since his ships were lost at sea and the family fortune along with them. Belle's father (Marcel André) arrives home announcing he has come into a great fortune that he will pick up the next day, along with gifts for his daughters, Belle and her shrewish sisters Adelaide and Felicie. Belle's roguish brother Ludovic (Michel Auclair), believing they will soon be wealthy, signs a contract from a moneylender (Raoul Marco) allowing him the ability to sue Ludovic's father if he can't pay. Belle's sisters ask for a monkey and a parrot as gifts, but Belle asks only for a rose. However, the next day, Belle's father finds on his arrival that his fortune has been seized to clear his debts and he is as penniless as before. He has no money for lodging and is forced to return home through a forest at night. He gets lost in the forest and finds himself at a large castle whose gates and doors magically open themselves. On entering the castle, he is guided by an enchanted candelabra that leads him to a laden dinner table where he falls asleep. Awakened by a loud roar, he wanders the castle's grounds. Remembering that Belle asked for a rose, he plucks a rose from a tree which makes the Beast (Jean Marais) appear. The Beast threatens to kill him for theft but suggests that one of his daughters can take his place. The Beast offers his horse Magnificent to guide him through the forest and to his home. Page of the original scenario on display in the Jean Cocteau House in Milly-la-Foret, France Belle's father explains the situation to his family and Avenant. Belle agrees to take her father's place and rides Magnificent to the castle. Upon meeting the Beast, Belle faints at his monstrous appearance and is carried to her room in the castle. Belle awakens to find a magic mirror which allows her to see anything. The Beast invites Belle to dinner, where he tells her that she's in equal command to him and that she will be asked every day to marry him. Days pass as Belle grows more accustomed to and fond of the Beast, but she continues to refuse marriage. Using the magic mirror, Belle sees that her father has become deathly ill. Belle begs for permission to visit her family, and the Beast reluctantly grants her permission to leave for a week. He gives Belle two magical items: a glove that can transport her wherever she wishes and a golden key that unlocks Diana's Pavilion, the source of the Beast's true riches. He tells Belle that he gives her these precious items to show his trust in her, and says that if she does not return at the end of the week, he will die of grief. Belle uses the glove to appear in her bedridden father's room, where her visit restores him to health. Belle finds her family living in poverty, having never recovered from Ludovic's deal with the moneylender. Jealous of Belle's rich life at the castle, Adelaide and Felicie steal her golden key and devise a plan to turn Ludovic and Avenant against the Beast. Avenant and Ludovic devise a plan of their own to kill the Beast, and agree to aid Belle's sisters. To stall Belle, her sisters trick her into staying past her seven-day limit by pretending to love her. Belle reluctantly agrees to stay. The Beast sends Magnificent with the magic mirror to retrieve Belle but Ludovic and Avenant find Magnificent first, and ride him to the castle. Belle later finds the mirror which reveals the Beast's sorrowful face in its reflection. Belle realizes she is missing the golden key as the mirror breaks. Distraught, Belle returns to the castle using the magic glove and finds the Beast in the courtyard, near death from a broken heart. Meanwhile, Avenant and Ludovic stumble upon Diana's Pavilion. Thinking that their stolen key may trigger a trap, they scale the wall of the Pavilion. As the Beast dies in Belle's arms, Avenant breaks into the Pavilion through its glass roof, whereupon he is shot with an arrow by an animated statue of the Roman goddess Diana and is himself turned into a Beast. As this happens, arising from where the Beast lay dead is Prince Ardent (Jean Marais) who is cured of being the Beast. He explains that because his parents did not believe in spirits, in revenge the spirits turned him into the Beast. Prince Ardent and Belle embrace, then fly away to his kingdom where she will be his Queen. He promises that her father will stay with them and Belle's sisters will carry the train of her gown.

JULES ET JIM (François Truffaut, 1962)

The film is set before, during, and after the Great War in several different parts of France, Austria, and Germany. Jules (Oskar Werner) is a shy writer from Austria who forges a friendship with the more extroverted Frenchman Jim (Henri Serre). They share an interest in the world of the arts and the Bohemian lifestyle. At a slide show, they become entranced with a bust of a goddess and her serene smile and travel to see the ancient statue on an island in the Adriatic Sea. After encounters with several women, they meet the free-spirited, capricious Catherine (Jeanne Moreau), a doppelgänger for the statue with the serene smile. The three become inseparable. Although she begins a relationship with Jules, both men are affected by her presence and her attitude toward life. Jim continues to be involved with his girlfriend Gilberte, usually seeing her apart from the others. A few days before war is declared, Jules and Catherine move to Austria to get married. Both men serve during the war, on opposing sides; each fears throughout the conflict the potential for facing the other or learning that he might have killed his friend. After the wartime separation, Jim visits, and later stays with, Jules and Catherine in their chalet in the Black Forest. Jules and Catherine by then have a young daughter, Sabine. Jules confides the tensions in their marriage. He tells Jim that Catherine torments and punishes him at times with numerous affairs, and she once left him and Sabine for three months. She flirts with and attempts to seduce Jim, who has never forgotten her. Jules, fearful that Catherine might leave him forever, gives his blessing for Jim to marry Catherine so that he may continue to visit them and see her. For a while, the three adults live happily with Sabine in the chalet, until tensions between Jim and Catherine arise because of their inability to have a child. Jim leaves Catherine and returns to Paris. After several exchanges of letters between Catherine and Jim, they resolve to reunite when she learns that she is pregnant. The reunion does not occur after Jules writes to tell Jim that Catherine suffered a miscarriage. After a time, Jim runs into Jules in Paris. He learns that Jules and Catherine have returned to France. Catherine tries to win Jim back, but he rebuffs her, saying he is going to marry Gilberte. Furious, she pulls a gun on him, but he wrestles it away and flees. He later encounters Jules and Catherine in a famous (at that time) movie theater, the Studio des Ursulines. The three of them stop at an outdoor cafe. Catherine asks Jim to get into her car, saying she has something to tell him. She asks Jules to watch them and drives the car off a damaged bridge into the river, killing herself and Jim. Jules is left to bury the ashes of his friends in the Père-Lachaise Cemetery columbarium; Catherine wanted her ashes to be scattered in the wind from a hilltop, but at the time it wasn't legal.[5]

BATTLESHIP POTEMKIN (Sergei Eisenstein, 1925)

The film is set in June 1905; the protagonists of the film are the members of the crew of the Potemkin, a battleship of the Imperial Russian Navy's Black Sea Fleet. Eisenstein divided the plot into five acts, each with its own title: Act I: Men and Maggots[edit] The scene begins with two sailors, Matyushenko and Vakulinchuk, discussing the need for the crew of the Potemkin, anchored off the island of Tendra, to support the revolution then taking place within Russia. After their watch, they and other off-duty sailors are sleeping in their hammocks. As an officer inspects the quarters, he stumbles and takes out his aggression on a sleeping sailor. The ruckus causes Vakulinchuk to awake, and he gives a speech to the men as they come to. Vakulinchuk says, "Comrades! The time has come when we too must speak out. Why wait? All of Russia has risen! Are we to be the last?" The scene cuts to morning above deck, where sailors are remarking on the poor quality of the meat for the crew. The meat appears to be rotten and covered in worms, and the sailors say that "even a dog wouldn't eat this!" The ship's doctor, Smirnov, is called over to inspect the meat by the captain. Rather than worms, the doctor says that the insects are maggots, and they can be washed off before cooking. The sailors further complain about the poor quality of the rations, but the doctor declares the meat edible and ends the discussion. Senior officer Giliarovsky forces the sailors still looking over the rotten meat to leave the area, and the cook begins to prepare borscht although he too questions the quality of the meat. The crew refuses to eat the borscht, instead choosing bread and water, and canned goods. While cleaning dishes, one of the sailors sees an inscription on a plate which reads "give us this day our daily bread". After considering the meaning of this phrase, the sailor smashes the plate and the scene ends. Act II: Drama on the Deck[edit] All those who refuse the meat are judged guilty of insubordination and are brought to the fore-deck where they receive religious last rites. The sailors are obliged to kneel and a canvas cover is thrown over them as a firing squad marches onto the deck. The First Officer gives the order to fire, but in response to Vakulinchuk's pleas the sailors in the firing squad lower their rifles and the uprising begins. The sailors overwhelm the outnumbered officers and take control of the ship. The officers are thrown overboard, the ship's priest is dragged out of hiding, and finally the doctor is thrown into the ocean as 'food for the worms'. The mutiny is successful but Vakulinchuk, the charismatic leader of the rebels, is killed. Act III: A Dead Man Calls Out[edit] The Potemkin arrives at the port of Odessa. Vakulinchuk's body is taken ashore and displayed publicly by his companions in a tent with a sign on his chest that says "For a spoonful of borscht" (Изъ-за ложки борща). The citizens of Odessa, saddened yet empowered by Vakulinchuk's sacrifice, are soon whipped into a frenzy against the Tsar and his government by sympathizers. A man allied with the government tries to turn the citizens' fury against the Jews, but he is quickly shouted down and beaten by the people. The sailors gather to make a final farewell and praise Vakulinchuk as a hero. The people of Odessa welcome the sailors, but they attract the police as they mobilize against the government. Act IV: The Odessa Steps[edit] The citizenry of Odessa take to their ships and boats, sailing out to the Potemkin to show their support to the sailors and donate supplies, while a crowd of others gather at the Odessa steps to witness the happenings and cheer on the rebels. Suddenly a detachment of dismounted Cossacks form battle lines at the top of the steps and march toward a crowd of unarmed civilians including women and children, and begin firing and advancing with fixed bayonets. Every now and again, the soldiers halt to fire a volley into the crowd before continuing their impersonal, machine-like assault down the stairs, ignoring the people's pleas for humanity and understanding. Meanwhile, government cavalry attack the fleeing crowd at the bottom of the steps as well, cutting down many of those who survived the dismounted assault. Brief sequences show individuals among the people fleeing or falling, a baby carriage rolling down the steps, a woman shot in the face, broken glasses, and the high boots of the soldiers moving in unison.[6] In retaliation, the sailors of the Potemkin use the guns of the battleship to fire on the city opera house, where Tsarist military leaders are convening a meeting. Meanwhile, there is news that a squadron of loyal warships is coming to quell the revolt of the Potemkin. Act V: One Against All[edit] The sailors of the Potemkin decide to take the battleship out from the port of Odessa to face the fleet of the Tsar. Just when battle seems inevitable, the sailors of the Tsarist squadron refuse to open fire, cheering and shouting to show solidarity with the mutineers and allowing the Potemkin, flying the red flag, to pass between their ships.

LATE SPRING (Yasujiro Ozu, 1949)

The film opens at a tea ceremony. Professor Shukichi Somiya (Chishu Ryu), a widower, has only one child, a twenty-seven-year-old unmarried daughter, Noriko (Setsuko Hara), who takes care of the household and the everyday needs—cooking, cleaning, mending, etc.—of her father. On a shopping trip to Tokyo, Noriko encounters one of her father's friends, Professor Jo Onodera (Masao Mishima), who lives in Kyoto. Noriko knows that Onodera, who had been a widower like her father, has recently remarried, and she tells him that she finds the very idea of his remarriage distasteful, even "filthy." Onodera, and later her father, tease her for having such thoughts. Setsuko Hara as Noriko and Chishū Ryū as Shukichi in Late Spring (production still) Shukichi's sister, Aunt Masa (Haruko Sugimura), convinces him that it is high time his daughter got married. Noriko is friendly with her father's assistant, Hattori (Jun Usami), and Aunt Masa suggests that her brother ask Noriko if she might be interested in Hattori. When he does bring up the subject, however, Noriko laughs: Hattori has been engaged to another young woman for quite some time. Undaunted, Masa pressures Noriko to meet with a marriageable young man, a Tokyo University graduate named Satake who, Masa believes, bears a strong resemblance to Gary Cooper. Noriko declines, explaining that she does not wish to marry anyone, because to do so would leave her father alone and helpless. Masa surprises Noriko by claiming that she is also trying to arrange a match between Shukichi and Mrs. Miwa (Kuniko Miyake), an attractive young widow known to Noriko. If Masa succeeds, Noriko would have no excuse. At a Noh performance attended by Noriko and her father, the latter smilingly greets Mrs. Miwa, which triggers Noriko's jealousy. When her father later tries to talk her into going to meet Satake, he tells her that he intends to marry Mrs. Miwa. Devastated, Noriko reluctantly decides to meet the young man and, to her surprise, has a very favorable impression of him. Under pressure from all sides, Noriko consents to the arranged marriage. The Somiyas go on one last trip together before the wedding, visiting Kyoto. There they meet Professor Onodera and his family. Noriko changes her opinion of Onodera's remarriage when she discovers that his new wife is a nice person. While packing their luggage for the trip home, Noriko asks her father why they cannot simply stay as they are now, even if he does remarry - she cannot imagine herself any happier than living with and taking care of him. Shukichi admonishes her, saying that she must embrace the new life she will build with Satake, one in which he, Shukichi, will have no part, because "that's the order of human life and history." Noriko asks her father's forgiveness for her "selfishness" and agrees to go ahead with the marriage. Noriko's wedding day arrives. At home just before the ceremony, both Shukichi and Masa admire Noriko, who is dressed in a traditional wedding costume. Noriko thanks her father for the care he has taken of her throughout her life and leaves in a hired car for the wedding. Afterwards, Aya (Yumeji Tsukioka), a divorced friend of Noriko's, goes with Shukichi to a bar, where he confesses that his claim that he was going to marry Mrs. Miwa was a ruse to persuade Noriko to get married herself. Aya, touched by his sacrifice, promises to visit him often. Shukichi returns home alone.

REAR WINDOW (Alfred Hitchcock, 1954)

While recuperating from a broken leg, professional photographer L. B. "Jeff" Jefferies is confined to a wheelchair in his apartment in Greenwich Village, Manhattan. His rear window looks out onto a courtyard and other apartments. During an intense heat wave, he watches his neighbors, who keep their windows open to stay cool. They are a lonely woman whom Jeff nicknames "Miss Lonelyhearts," a newlywed couple, a pianist, a pretty dancer nicknamed "Miss Torso," a middle-aged couple whose small dog likes digging in the flower garden, and Lars Thorwald, a traveling costume jewelry salesman with a bedridden wife. James Stewart as L. B. Jefferies Jeff is visited regularly by Lisa Fremont, his socialite girlfriend, and a nurse named Stella. One night after an argument with Lisa, Jeff is alone in his apartment and hears a woman scream, "Don't!" and the sound of breaking glass. Later that night, during a thunderstorm, he observes Thorwald making repeated trips carrying a suitcase. Later, after Jeff dozes off, Thorwald leaves his apartment along with a woman. The next morning, Jeff notices that Thorwald's wife is gone, and sees him cleaning a large knife and handsaw. Thorwald also has moving men haul away a large trunk. Jeff becomes convinced that Thorwald has murdered his wife, and shares this with Lisa and Stella, who believe him when they observe Thorwald acting suspiciously. Jeff calls his friend and war buddy Tom Doyle, a New York City Police detective, and asks him to investigate Thorwald. Doyle finds nothing suspicious—apparently, Mrs. Thorwald is upstate. Soon after, the neighbor's dog is found dead. The distraught owner yells and everyone runs to their windows except Thorwald, who sits quietly in his dark apartment smoking a cigar. Certain that Thorwald killed the dog, Jeff telephones him to lure him away so that Stella and Lisa can investigate. He believes Thorwald buried something in the flower bed and killed the dog because it was digging at it. When Thorwald leaves, Lisa and Stella dig up the flowers, but find nothing. Much to Jeff's amazement and admiration, Lisa climbs up the fire escape to Thorwald's apartment and clambers in through an open window. Jeff and Stella get distracted when they see Miss Lonelyhearts take out some pills and write a note, realizing she is going to attempt suicide. They call the police but before they can report it, Miss Lonelyhearts stops, opening the window to listen to the pianist's music. Thorwald returns and confronts Lisa, and Jeff realizes that Thorwald is going to kill her. He calls the police and reports an assault in progress. The police arrive and arrest Lisa when Thorwald indicates that she broke in to his apartment. Jeff sees Lisa coyly pointing to her finger with Mrs. Thorwald's wedding ring on it. Thorwald sees this also and, realizing that she is signaling someone, spots Jeff across the courtyard. Jeff phones Doyle and leaves an urgent message while Stella goes to bail Lisa out of jail. When his phone rings, Jeff assumes it is Doyle, and blurts out that the suspect has left. When no one answers, he suspects that it was Thorwald calling. Thorwald enters Jeff's dark apartment and Jeff sets off a series of camera flashbulbs to temporarily blind him. Thorwald pushes Jeff out the window and Jeff, hanging on, yells for help. Police enter the apartment, Jeff falls, and officers on the ground break his fall. Thorwald confesses to the police that he murdered his wife. A few days later, normalcy returns to the neighborhood. The couple whose dog was killed have a new puppy, the newlyweds are having their first argument, Miss Torso's boyfriend comes back from the army, Miss Lonelyhearts starts seeing the pianist, and Thorwald's apartment is being refurbished. Jeff rests in his wheelchair, now with casts on both legs. Beside him, Lisa reads a book titled "Beyond the High Himalayas." After seeing that Jeff is sleeping, Lisa happily opens a fashion magazine.

MOTHER INDIA (Mehboob Khan, 1957)

The film opens in the year 1957, the present day at the time of filming. When construction of an irrigation canal to the village is completed, Radha (Nargis), considered to be the "mother" of the village, is asked to inaugurate the canal. She remembers her past when she was newly married. The wedding between Radha and Shamu (Raaj Kumar) is paid for by Radha's mother-in-law, who borrows the money from the moneylender Sukhilala (Kanhaiyalal). The conditions of the loan are disputed, but the village elders decide in favour of the moneylender, after which Shamu and Radha are forced to pay three-quarters of their crop as interest on the loan of ₹500 (valued at about US$105 in 1957).[a][b] While Shamu works to bring more of their rocky land into use, his arms are crushed by a boulder. Ashamed of his helplessness (being without arms), and humiliated by Sukhilala for living on the earnings of his wife, Shamu decides that he is of no use to his family and permanently leaves Radha and their three sons, walking to his own probable death by starvation. Soon after, Radha's youngest son and her mother-in-law die. A severe storm and the resulting flood destroys houses in the village and ruins the harvest. Sukhilala offers to save Radha and her sons if she trades her body to him for food. Radha vehemently refuses his offer but has to also lose her infant (her fourth son) to the atrocities of the storm. Although the villagers begin initially to evacuate the village, they decide to stay and rebuild it, persuaded by Radha. Several years later, Radha's two surviving children, Birju (Sunil Dutt) and Ramu (Rajendra Kumar) are young men. Birju, embittered since childhood by the demands of Sukhilala, takes out his frustrations by pestering the village girls, especially Sukhilala's daughter, Rupa. Ramu, by contrast, has a calmer temperament and is married soon after. Birju's anger finally becomes dangerous and, after being provoked, he attacks Sukhilala and his daughter and steals Radha's kangan (marriage bracelets) that were pawned with Sukhilala. He is chased out of the village and becomes a bandit. Radha promises Sukhilala that she will not let Birju cause harm to Sukhilala's family. On Rupa's wedding day, Birju returns with his gang of bandits to exact his revenge. He kills Sukhilala and kidnaps Rupa. When he tries to flee the village on his horse, Radha, his mother, shoots him. He dies in her arms. The film returns to 1957, the present day; Radha opens the gate of the canal and its reddish water flows into the fields.

1900 (Bernardo Bertolucci, 1976)

The film opens on 25 April 1945, the day Italy is liberated from the fascists. The peasants on an estate in Emilia-Romagna are shown attempting to join the partisans and place the owner of the estate, Alfredo Berlinghieri, under arrest. A middle-aged man named Attila and woman named Regina are seen attempting to flee the farm but are attacked by women labourers wielding pitchforks. The narrative moves back to the start of the century. Both born on the day of the death of composer Giuseppe Verdi - 27 January 1901 - Alfredo Berlinghieri and Olmo Dalcò come from opposite ends of the social spectrum. Alfredo is from a family of wealthy landowners led by his popular grandfather (also called Alfredo or Alfredo the Elder) and grows up with his cousin Regina. Olmo is an illegitimate peasant born to an unmarried young woman who already has had several children. His grandfather, Leo, is the foreman and peasants' spokesman who carries out a duel of wits with the elder Alfredo which masks a deep-seated mutual respect. As Alfredo is somewhat rebellious and despises the falseness of his family, in particular his weak but abusive and cynical father Giovanni, he befriends Olmo, who has been raised as a socialist. During this time, Leo leads strikes against the unfair conditions on the farm. The two are friends throughout their childhood, despite the social differences of their families, and spend much time in one another's company. Olmo enlists with the Italian army in 1917 during World War I and goes off to fight while Alfredo learns how to run his family's large plantation under the guidance of his father. Olmo returns from the war over a year later and his friendship with Alfredo continues. However, Giovanni, the padrone since the elder Alfredo's suicide, has hired Attila Mellanchini as his foreman. Taken with fascism in a similar way that Giovanni has been, Attila eventually incorporates his new belief system in his dealings with the Berlinghieri workers; he treats them cruelly, and wins Regina and Giovanni over to his side. In the 1920s, Olmo enters into a relationship with Anita, a down-to-earth woman who shares his enthusiasm for the cause of workers' rights. Together, Olmo and Anita lead several fervent protests against the landowners. Following the death of Giovanni, Alfredo becomes the new padrone and marries Ada, a gorgeous, demure Frenchwoman. During the 1930s, he proves to be a weak padrone, repeatedly bending to the whim of the fascists. Ada sinks into alcoholism when confronted with the reality of the emptiness of her marriage to Alfredo; she sympathises to some extent with the workers and despises Alfredo for his failure to stand up to Attila. Meanwhile, Olmo's wife Anita dies in childbirth, but manages to bring another member into the community; a daughter whom Olmo names after his late wife. Olmo's daughter, Anita the Younger, grows into a young and resourceful teenager who is supportive of her father's socialist beliefs. As Olmo takes on his fateful role of leader among the poor farmers and their families, he clashes several times with Attila. The latter, whose psychopathic tendencies have been revealed via the murders of a cat and a small boy (the latter at Alfredo and Ada's wedding and for which Olmo was initially blamed), commits further atrocities such as killing the elderly Mrs. Pioppi in order to steal her land and home. However, he becomes a fresh target of ridicule at the hands of the peasants; led by Olmo, they take turns throwing manure at him after Attila tries to sell Olmo like a slave. Olmo flees to keep from being killed by the fascists, and Attila reacts to the humiliation by tearing up Olmo's house with his blackshirts before caging the peasants on the Berlinghieri compound and indiscriminately shooting them. Alfredo fires Attila, but discovers that Ada has already left him. The story comes full circle when the power shifts after World War II in 1945, and the ruling class is at the mercy of the jovial yet bitter farm labourers. Attila and Regina, having been apprehended, are imprisoned in the Berlinghieri pigsty, and the women peasants cut off Regina's hair. Attila gleefully confesses to the murders he has committed over the years and is executed on the spot. Olmo returns to the farm in time to see Alfredo being brought before a workers' tribunal to stand trial. Many workers come forth and accuse Alfredo of letting them suffer in squalor while he profited from their labours, although he did not support fascism. Alfredo is sentenced to death, but his execution is prevented after Olmo explains that the padrone is dead, so Alfredo Berlinghieri is alive, suggesting that the social system has been overthrown with the end of the war. As soon as the verdict is reached, however, representatives and soldiers of the new government, which represents the Communist Party, Christian Democrats, the Action Party, Liberals, and Socialists arrive and call on the peasants to turn in their arms. Olmo convinces the peasants to do so, overcoming their scepticism. Alone with Olmo, Alfredo declares "The padrone is alive", indicating the struggle between the working and ruling classes is destined to continue. The film ends with Alfredo and Olmo playfully tackling each other as they did in their childhood, then the scene suddenly jumps forward several years to the present day with the elderly Alfredo and Olmo walking along a railway track. Alfredo lies down in the center of the tracks as his younger self would do as a game while a train would run over the tracks, but Alfredo would emerge unharmed as he would lie perfectly still. Alfredo appears to lay himself across the tracks as a train approaches in a clear attempt at suicide as if he has chosen to end his life at that time. The final shot shows the train traveling over the younger Alfredo lying perfectly still in the center of the tracks.

THE SACRIFICE (Andrei Tarkovsky, 1986)

The film opens on the birthday of Alexander (Erland Josephson), an actor who gave up the stage to work as a journalist, critic and lecturer on aesthetics. He lives in a beautiful house with his actress wife Adelaide (Susan Fleetwood), stepdaughter Marta (Filippa Franzén), and young son, "Little Man", who is temporarily mute due to a throat operation. Alexander and Little Man plant a tree by the seaside, when Alexander's friend Otto, a part-time postman, delivers a birthday card to him. When Otto asks, Alexander says his relationship with God is "nonexistent". After Otto leaves, Adelaide and Victor, a medical doctor and a close family friend who performed Little Man's operation, arrive and offer to take Alexander and Little Man home in Victor's car, but Alexander prefers to stay behind and talk to his son. In his monologue, he first recounts how he and Adelaide found their house near the sea by accident, and how they fell in love with it and its surroundings, but then enters a bitter tirade against the state of modern man. As Tarkovsky wrote, Alexander is weary of "the pressures of change, the discord in his family, and his instinctive sense of the threat posed by the relentless march of technology"; in fact, he has "grown to hate the emptiness of human speech".[4] The family, Victor, and Otto gather at Alexander's house for the celebration. Their maid Maria leaves, while nurse-maid Julia stays to help with the dinner. People comment on Maria's odd behavior. The guests chat inside the house, where Otto reveals that he is a student of paranormal phenomena, a collector of "inexplicable but true incidents." Just when dinner is almost ready, the rumbling noise of low-flying jet fighters interrupts them, and soon after, as Alexander enters, a news program announces the beginning of what appears to be World War III, and possibly nuclear holocaust. His wife has a complete nervous breakdown. In despair, Alexander vows to God to renounce all he loves, even Little Man, if this may be undone. Otto advises him to slip away and lie with Maria, who Otto tells him is a witch "in the best possible sense". Alexander takes a pistol from Victor's medical bag, leaves a note in his room, escapes the house, and rides Otto's bike to Maria's house. He tells her the story of when he fixed up and brought order to his mother's garden, only to find that it lost all its beauty when he did so. She is bewildered when he makes his advances, but when he puts the gun to his temple ("Don't kill us, Maria"), at which point the jet fighters' rumblings return, she soothes him and they make love while floating above her bed, though Alexander's reaction is ambiguous. When he wakes the next morning, in his own bed, everything seems normal. Nevertheless, Alexander sets forth to give up all he loves and possesses. He tricks the family members and friends into going for a walk, and sets fire to their house while they are away. As the group rushes back, alarmed by the fire, Alexander confesses that he set it, and runs around wildly. Maria, who until then was not seen that morning, appears; Alexander tries to approach her, but is restrained by others. Without explanation, an ambulance appears, and two paramedics chase Alexander, who appears to have lost control of himself, and drive off with him. Maria begins to bicycle away, but stops to observe Little Man watering the tree he and Alexander planted the day before.[n 1] As Maria leaves, the "mute" Little Man, lying at the foot of the tree, speaks his only line, which quotes the opening of the Gospel of John: "In the beginning was the Word.[Jn 1:1] Why is that, Papa?"

CHIMES AT MIDNIGHT (Orson Welles, 1965)

The film opens with Sir John Falstaff and Justice Shallow walking through the snow, then to a warm fire inside Justice Shallow's home in Gloucestershire, as the two reminisce. After a main credit sequence, the narrator explains that King Henry IV of England has succeeded Richard II, whom he has killed. "Some say at the command of the Duke Henry Bolingbrooke in Pontrefact castle on February 14, 1400." Richard II's true heir, Edmund Mortimer, is a prisoner in Wales, and Mortimer's cousins (the Percys) Northumberland, Worcester, and Northumberland's son Hotspur demand that Henry rescue Mortimer. The king refuses, and thus Mortimer's cousins, the Percys, begin to plot Henry's overthrow. To wit, Northumberland, his son Henry Percy (called "Hotspur") and Worcester. To Henry's great dissatisfaction, his son Prince Hal spends most of his time at the Boar's Head Tavern, drinking and carousing with prostitutes, thieves and other criminals under Falstaff's patriarchal influence. Falstaff insists that he and Hal should think of themselves as gentlemen, but Hal warns Falstaff that he will one day reject both this lifestyle and Falstaff. The next morning Hal, Falstaff, Bardolph, Peto, and Poins disguise themselves in Gadshill to prepare to rob a group of traveling pilgrims. After Falstaff, Bardolph, and Peto rob the pilgrims, Hal and Poins jump out in disguises and take the stolen treasure from Falstaff as a joke. Back at the Boar's Head Tavern, Falstaff begins to tell Hal and Poins with increasing exaggeration the story of how the money was stolen from him. Hal and Poins poke holes in Falstaff's tale until they reveal their joke to the entire group. In celebration of the newly recovered stolen treasure, Falstaff and Hal take turns impersonating Henry, with a cooking pot crown and vocal impressions. Falstaff's Henry chastises Hal for spending his time with common criminals, but names Sir John Falstaff as his one virtuous friend. Hal's Henry calls Falstaff a "misleader of youth". Hal visits the King at the castle and Henry scolds him for his criminal and unethical life-style. Henry warns Hal about Hotspur's growing army and its threat to his crown. Hal passionately vows to his unimpressed father that he will defend Henry and redeem his good name. The King's army, including Falstaff, parades through the streets and off to war. Before the battle, Henry meets with Worcester and offers to forgive all of Hotspur's men of treason if they surrender immediately. Hal vows to personally kill Hotspur. Worcester returns to his camp and lies to Hotspur, telling him that Henry intends to execute all traitors. The two armies meet in the Battle of Shrewsbury (1403), but Falstaff hides in shrubs for most of the conflict. After a long and bloody fight, the King's men win the battle, after which Hotspur and Hal meet alone and duel; as Falstaff watches, Hal kills Hotspur. Henry sentences Worcester to death and takes his men as prisoners. Falstaff brings Hotspur's body to Henry, claiming that he killed Hotspur; Henry does not believe Falstaff, instead looking disapprovingly at Hal and the ignoble company he keeps. "I know thee not, old man: fall to thy prayers;How ill white hairs become a fool and jester!I have long dream'd of such a kind of man,So surfeit-swell'd, so old and so profane;But, being awaked, I do despise my dream."— Henry IV, Part 2, Act V, Scene 5 The narrator explains that all of Henry IV's rebellious enemies had been killed by 1408, but that Henry's health has begun to deteriorate. At the castle, Henry becomes upset when told that Hal is once again spending time with Falstaff, and collapses. Hal visits the castle and discovers that Henry is sicker than he had realized. Hal vows to Henry to be a good and noble king. Henry finally has faith in Hal and advises him on how to be a king. Henry dies and Hal tells his men that he is now King Henry V. Falstaff, Shallow and Silence sit in front of a warm fire, continuing from the first scene of the film. They receive news of Henry IV's death and that Hal's coronation will be held that morning. Falstaff becomes ecstatic and goes directly to the castle, thinking that he will become a great and powerful nobleman under King Henry V. At the coronation, Falstaff cannot contain his excitement and interrupts the entire ceremony, announcing himself to Hal. Hal turns his back on Falstaff and proclaims that he is now finished with his former lifestyle. As Falstaff looks up at Hal with a mixture of pride and despair, the new king banishes Falstaff. The coronation continues into the castle as Falstaff walks away, stating that he will be sent for that evening. That night, Falstaff dies at the Boar's Head Tavern, and his friends mourn him, saying that he died of a broken heart. The narrator explains that Hal went on to become a good and noble king.[4]

F FOR FAKE (Orson Welles, 1973)

The film opens with Welles performing magic tricks for some children while Kodar watches nearby. Welles quotes Robert-Houdin to the effect that a magician is just an actor. Welles promises that for the next hour everything in the film will be based on solid fact. Kodar is then shown strolling around a street in a miniskirt while being ogled by the men on the street. Welles reveals the footage is taken from another experiment about girl-watching, where Kodar deliberately drew attention to herself and the men were unaware they were being filmed. Welles says her story will continue later in the film, and then narrates the story of Elmyr de Hory, an art forger who sold many fake paintings to museums and collectors all over the world. De Hory is shown throwing a dinner party at his home in Ibiza and being feted by European society, although he dances around the question of whether he is guilty or not. One of those filmed is Clifford Irving, who had published a biography of de Hory called Fake, and was later revealed to have been the forger of a fake "authorized biography" of Howard Hughes. Welles discusses the irony of Irving commenting on de Hory's forgery while having committed a version of it himself (Welles states his belief that Irving must have been in the process of working on the hoax at the time he was filmed for the de Hory project). Irving and de Hory tell about the art dealers who were fooled by the forgeries, and Welles considers the question whether this means art dealers and appraisers are fake also. Welles presents more of Irving's story of having had secret contact with Hughes, and the odd stories of Hughes's behavior that may or may not have been true. He wonders if believing such stories makes a person credulous or not, and questions the true wisdom of so-called experts, who verified Irving's forgery as authentic. Reichenbach is shown telling how de Hory provided him with several paintings of questionable authenticity, but the art dealers he gave them to were willfully blind to it. Welles notes that de Hory does not even own the house he lives in; it is provided for him by an art dealer. Welles recounts his own past use of fakery: how he got a job in Ireland by falsely claiming to be a famous New York actor, and how his broadcast of The War of the Worlds made deliberate use of fake news to enhance the story. He also notes the coincidence that his first film Citizen Kane was originally going to be a fictionalized version of Howard Hughes.[3] Irving describes how de Hory was nearly destitute when younger and subsisted in America by making and selling forgeries that were indistinguishable from the real works, while remaining one step ahead of the law through frequent relocations. He finally moved to Ibiza, but was not prosecuted for lack of witnesses to the actual forging, as well as the scandal that might be aroused by revealing the depth of the art market's complicity in the deception. De Hory insists he never signed any forgery, and Welles wonders whether, given the fact that all art eventually falls away to ruin, a signature truly matters to any art work. He illustrates the point by shots of the cathedral of Chartres, pointing out that the names of the men who created the magnificent building and the sculptures which adorn it are unknown. They did not sign their work, but it has endured. Welles finally presents Kodar's story: she holidayed in the same village as Picasso, who noticed her and painted 22 pieces with her as the model. She insisted she be allowed to keep the paintings, but later when Picasso read about an acclaimed exhibit of 22 new pieces of his, he flew there in a rage, only to discover the pieces were all forgeries. Kodar took Picasso to her grandfather, the forger. In a verbal re-enactment by Welles (grandfather) and Kodar (Picasso), the forger defended his work with pride, saying he invented a new Picasso period. The grandfather suggests that the forgeries go un-reported, to allow him an artistic legacy that Picasso already has. Picasso angrily demanded the paintings back, which is impossible because the grandfather had burned them. Welles then confesses that he had promised everything in the "next hour" was true, and that hour had already passed. He admits the entire story of Kodar, her grandfather, and Picasso was made up. He apologizes, quotes Picasso's statement that art is a lie that makes us see the truth, and bids the audience good evening.

MANHATTAN (Woody Allen, 1979)

The film opens with a montage of images of Manhattan and other parts of New York City accompanied by George Gershwin's Rhapsody in Blue, with Isaac Davis narrating drafts of an introduction to a book about a man who loves the city. Isaac is a twice-divorced, 42-year-old television comedy writer who quits his boring job. He is dating Tracy, a 17-year-old girl attending the Dalton School. His best friend, college professor Yale Pollack, married to Emily, is having an affair with Mary Wilkie. Mary's ex-husband and former teacher, Jeremiah, also appears, and Isaac's ex-wife Jill is writing a confessional book about their marriage. Jill, who before their marriage told Isaac that she was bisexual, has since come out and lives with her lesbian partner, Connie. When Isaac meets Mary, her cultural snobbery offends him. Isaac runs into her again at an Equal Rights Amendment fund-raising event at the Museum of Modern Art hosted by Bella Abzug and escorts her home. They chat until sunrise in a sequence that culminates in a shot of the Queensboro Bridge. In spite of a growing attraction to Mary, Isaac continues his relationship with Tracy but emphasizes that theirs cannot be a serious relationship and encourages her to go to London to study acting. After Yale breaks up with Mary, he suggests that Isaac ask her out. Isaac does, always having felt that Tracy was too young for him. Isaac breaks up with Tracy, much to her distress, and before long, Mary has virtually moved into his apartment. Emily is curious about Isaac's new girlfriend. The two couples enjoy a day out and upon walking down a street Isaac spots Jill's new book, Marriage, Divorce, and Selfhood. Emily proceeds to read parts of the book aloud, including passages about a ménage à trois Isaac had with Jill and another woman, and an incident where Isaac attempted to run Connie over, much to Mary and Yale's amusement. Publicly humiliated, Isaac confronts Jill, who responds nonchalantly and mentions a film rights deal she has acquired. Upon returning home, Isaac learns from Mary that she is returning to Yale and wants to break up. A furious Isaac confronts Yale at the college where he teaches, and Yale argues that he found Mary first. Isaac discusses Yale's extramarital affairs with Emily and learns that Yale told her Isaac introduced Mary to him. In the dénouement, Isaac lies on his sofa, musing into a tape recorder about the things that make "life worth living". When he finds himself saying "Tracy's face", he sets down the microphone. Unable to reach her by phone, he sets out for Tracy's on foot. He arrives at her family's apartment building just as she is leaving for London. He asks her not to go and says he does not want "that thing about [her] that [he] like[s]" to change. She replies that the plans have already been made and reassures him that "not everybody gets corrupted" before saying "you have to have a little faith in people". He gives her a slight smile, with a final look to the camera then segueing into final shots of the skyline with some bars of Rhapsody in Blue playing again. An instrumental version of "Embraceable You" plays over the credits.

WAGON MASTER (John Ford, 1950)

The film opens with a prelude showing a murderous robbery by the outlaw Clegg family (the patriarch Shiloh (Charles Kemper) and his four "boys"). The credits then follow the prelude, which was a stylistic innovation at its time.[8] A Mormon wagon train led by the Elder Wiggs (Ward Bond) around 1880 has reached Crystal City, and needs a wagon master to lead it further to its destination—the San Juan River country in southeastern Utah Territory. Their wagon train is being expelled from Crystal City by the townspeople there, and at the last minute horse traders Travis Blue (Ben Johnson) and Sandy Owens (Harry Carey, Jr.) take the wagon master job. After resuming its journey west, the train finds and adds the wagon of a medicine show troupe, who, en route to California, have become stranded without water. The onward passage of the wagon train is marked by the beginnings of romances between Travis and Denver (Joanne Dru), a female entertainer with the medicine troupe, and between Sandy and a Mormon's daughter, and also by a Mormon square dance celebrating a successful desert passage, and by a pow-wow dance with a band of Navajo. All goes well enough until the Cleggs, fleeing a posse from Crystal City, force themselves into the wagon train. The train surmounts an encounter with the posse, a washed out trail blocking the way west, and ultimately a violent confrontation with the homicidal Cleggs. The film's conclusion leaves the wagon train and its wagon master on the verge of entry into the San Juan country.[10][11][12] There is a final montage, which Richard Jameson characterizes as follows: "Wagon Master has scant interest in the prosaic, being preeminently a musical and a poem. ... it's the final montage that lifts the movie into another realm entirely. There are shots we've seen before—landmarks, vistas, the communal dance—but also shots we haven't. ... It's a subtler, deeper variation on the closing, transfiguring memory images of How Green Was My Valley (1941)."[9]

LA BÊTE HUMAINE (Jean Renoir, 1938)

The film opens with a quote from Zola's novel, one of his "Rougon-Macquart" series, emphasizing a character's fate as tied to the hereditary alcoholism that runs through his family's generations. The film itself, however, represents only a portion of the novel and veers from Zola's overriding theme of naturalistic fatalism.[3] Lantier is a railway engine driver obsessively tied to his locomotive, in part because his work distracts him from recurring headaches and violent rages that happen when he is with a woman and become worse when he drinks. During a stop for repairs in Le Havre, Lantier goes to his aunt's nearby village. He tells her he no longer has the attacks of violence, but then has one when he meets Flore (Blanchette Brunoy), an attractive young woman he knew as a little girl. The two walk and sit beside the railway, but as they embrace, his hands tighten on her neck, and he is stopped from strangling her only by the distracting roar of a passing train. Knowing of his condition, she forgives him. Roubaud, the deputy stationmaster at Le Havre, is married to Séverine (Simone Simon), who formerly worked for her wealthy godfather Grandmorin (Jacques Berlioz). Roubaud now accuses her of once having had an affair with Grandmorin, and she confirms that he took advantage of her. Roubaud demands that she be present as he takes his revenge. They arrange to be aboard the same train as Grandmorin; Roubaud and Séverine go to his compartment and Roubaud stabs the man to death. However, while in the corridor between compartments, they meet Lantier, who is a passenger on the same train. With Roubaud's encouragement, Séverine asks Lantier not to tell the police what he knows, and the murder is pinned on a habitual criminal, Cabouche (played by the director). Afterwards, Séverine and Roubaud are both haunted by the murder in different ways, and Séverine turns to Lantier for comfort. Meeting in secret during a rainstorm, their passion is suggested by an overflowing rain barrel as they begin an affair. Roubaud has lapsed into depression following the murder; Séverine tells Lantier that her husband will eventually kill her and suggests that Lantier strike first. Lantier is unable to carry out an attack on Roubaud, but when Séverine at her home tells Lantier that she will leave Roubaud, he agrees to try again. Just then, the couple hear a noise and think that Roubaud is approaching. Lantier then has one of his seizures and kills Séverine. Returning to his locomotive for another run to Paris, he confesses to his fireman Pecqeaux (Julien Carette), then attacks him, then finally leaps from the moving train to his death. After safely stopping the engine and walking back to Lantier's body, Pecqeaux remarks that Lantier now looks more peaceful than he had for a long time.

UN CHIEN ANDALOU (Luis Buñuel, 1928)

The film opens with a title card reading "Once upon a time". A man (Luis Buñuel) sharpens his razor at his balcony door and tests the razor on his thumb. He then opens the door, and idly fingers the razor while gazing at the moon, about to be bisected by a thin cloud, from his balcony. There is a cut to a close-up of a young woman (Simone Mareuil) being held by the man. She calmly stares straight ahead as he brings the razor near her eye. Another cut occurs to the cloud passing in front of the moon, then a cut to a close up of a hand slitting the eye of an animal with the razor (which happens so quickly the viewer may believe it was the woman's eye), and the vitreous humour spills out from it. The subsequent title card reads "eight years later". A slim young man (Pierre Batcheff) bicycles down a calm urban street wearing what appears to be a nun's habit and a striped box with a strap around his neck. A cut occurs to the young woman from the first scene, who has been reading in a sparsely furnished upstairs apartment. She hears the young man approaching on his bicycle and casts aside the book she was reading (revealing a reproduction of Vermeer's The Lacemaker). She goes to the window and sees the young man lying on the curb, his bicycle on the ground. She emerges from the building and attempts to revive the young man. Later, the young woman assembles pieces of the young man's clothing on a bed in the upstairs room, and concentrates upon the clothing. The young man appears near the door. The young man and the young woman stare at his hand, which has a hole in the palm from which ants emerge. A slow transition occurs focusing on the armpit hair of the young woman as she lies on the beach and a sea urchin at a sandy location. There is a cut to an androgynous young woman, with bobbed hair and dressed in rather masculine attire, in the street below the apartment. She pokes at a severed human hand with her cane while surrounded by a large crowd held back by policemen. The crowd clears when the policeman places the hand in the box previously carried by the young man and gives it to the young woman. The androgynous young woman contemplates something happily while standing in the middle of the now busy street clutching the box. She is then run over by a car and a few bystanders gather around her. The young man and the young woman watch these events unfold from the apartment window. The young man seems to take sadistic pleasure in the androgynous young woman's danger and subsequent death, and as he gestures at the shocked young woman in the room with him, he leers at her and gropes her breasts. The young woman resists him at first, but then allows him to molest her as he imagines her nude from the front and the rear. The young woman pushes him away as he drifts off and she attempts to escape by running to the other side of the room. The young man corners her as she reaches for a racquet in self-defense, but he suddenly picks up two ropes and drags two grand pianos containing dead and rotting donkeys, stone tablets containing the Ten Commandments, two pumpkins, and two rather bewildered priests (played by Jaime Miravilles and Salvador Dalí) who are attached by the ropes. As he is unable to pursue, the young woman escapes the room. The young man chases after her, but she traps his hand, which is infested with ants, in the door. She finds the young man in the next room, dressed in his nun's garb in the bed. The subsequent title card reads "around three in the morning". The young man is roused from his rest by the sound of a door-buzzer ringing (represented visually by a Martini shaker being shaken by a set of arms through two holes in a wall). The young woman goes to answer the door and does not return. Another young man, whom we see only from behind, dressed in lighter clothing, arrives in the apartment, gesturing angrily at him. The second young man forces the first one to throw away his nun's clothing and then makes him stand with his face to the wall, as if in disgrace. The subsequent title card reads "Sixteen years ago". We see the second young man's face for the first time (and discover that he is also played by Pierre Batcheff) as he admires the art supplies and books on the table near the wall and forces the first young man to hold two of the books as he stares at the wall. The first young man eventually shoots the second young man when the books abruptly turn into revolvers. The second young man, now in a meadow, dies while swiping at the back of a nude female figure which suddenly disappears into thin air. A group of men come and carry his corpse away. The young woman returns to the apartment and sees a death's-head moth. The first young man sneers at her as she retreats and wipes his mouth off his face with his hand. The young woman very nervously applies some lipstick in response. Subsequently, the first young man makes the young woman's armpit hair attach itself to where his mouth would be on his face through gestures. The young woman looks at the first young man with disgust, and leaves the apartment sticking her tongue out at him. As she exits her apartment, the street is replaced by a coastal beach, where the young woman meets a third man with whom she walks arm in arm. He shows her the time on his watch and they walk near the rocks, where they find the remnants of the first young man's nun's clothing and the box. They seem to walk away clutching each other happily and make romantic gestures in a long tracking shot. However, the film abruptly cuts to the final shot with a title card reading "In Spring", showing the couple buried in beach sand up to their elbows, motionless and perhaps dead.

OCTOBER (Sergei Eisenstein & Grigori Aleksandrov, 1928)

The film opens with the elation after the February Revolution and the establishment of the Provisional Government, depicting the throwing down of the Tsar's monument. It moves quickly to point out it's the "same old story" of war and hunger under the Provisional Government, however. The buildup to the October Revolution is dramatized with intertitles marking the dates of events. April 1917 Vladimir Lenin returns to Petrograd's Finland railway station packed with supporters. July 1917 The demonstrations in Nevsky Square are fired upon by the army. The government orders the working class to be cut off from the city center, and in a dramatic sequence the bridges are raised with the bodies of the Bolsheviks still on them as the Bourgeoisie throw copies of the Bolshevik newspaper into the river. The Bolshevik headquarters also is destroyed by the ruling class, and the Provisional Government orders the arrest of Lenin, who has gone underground but continues to direct the plans for the uprising. Provisional Government leader Alexander Kerensky is mockingly characterized and compared to a mechanical peacock and Napoleon, before satirically being accused of aspiring to the Russian throne. General Kornilov advances his troops on Petrograd "for God and country." While the government is helpless the Bolsheviks rally to the defense. The Bolsheviks take control of the city's arsenal and General Kornilov is arrested. Leaflets spread the messages of the revolution, and workers are trained to use weapons for the "last and decisive battle." October 1917 The Bolshevik Committee votes to approve Lenin's proposal to revolt. 24 October Lenin returns to the Smolny after four months in hiding and takes control of the uprising on the eve of the 25th. A message is sent to the people declaring the Provisional Government is deposed as of 25 October at 10 AM. 25 October The cruiser Aurora sails in as the workers take control of the bridges. The Minister of War calls troops to the aid of the deposed government, and Cossacks and the Women's Death Battalion arrive at the Winter Palace and lounge on the Tsar's billiard table. The Provisional Government drafts an appeal to the citizens attempting to reassert its legitimacy, but that evening a congress is held including delegates from all parts of the country and the Soviets are voted into power. With the weapons and preparations by the Military Revolutionary Committee, Bolsheviks march immediately on the Winter Palace and demand its surrender. The Provisional Government, seemingly aloof, gives no reply. The Women's Death Battalion surrenders and kills their superiors. A group of Soviets infiltrate the vast palace through the cellars and locate the government forces inside. The Cossacks surrender and join the Soviets. At the congress, the Mensheviks appeal for a bloodless end to the conflict, depicted as "harping", falls on deaf ears. The signal is given by a shot from the Aurora and the assault begins in earnest. In an epic climactic sequence, Soviets storm the palace en masse and overwhelm the defending forces. Soldiers in the palace raid the palace for valuables, only to have their pockets turned out by the Soviets once they have surrendered. Finally, the Soviets beat down the door to the Provisional Government's chambers and arrest the government members. Vladimir Antonov-Ovseyenko drafts a formal statement declaring the Provisional Government deposed. Clocks around the world are shown marking the time of the revolution's success as the Soviets cheer. 26 October The new government sets about building a new state, passing decrees for peace and land.

MAGNOLIA (Paul Thomas Anderson, 1999)

The film opens with three unrelated stories of deaths under synchronistic circumstances. Officer Jim Kurring investigates a disturbance at a woman's apartment, finding a body in a closet. Dixon, a neighborhood boy, tries to tell him who committed the murder. Jim goes to the apartment of Claudia Wilson. Her neighbors called the police after she argued with her estranged father, Jimmy Gator, and blasted music while snorting cocaine. Unaware of her addiction, Jim asks her on a date. Jimmy hosts a quiz show called What Do Kids Know? and is dying of cancer. The newest child prodigy on the show, Stanley Spector, is hounded by his father for the prize money and demeaned by the adults, who prevent him from using the bathroom during a commercial break. When the show resumes, he wets himself. As the show continues, a drunken Jimmy sickens, ordering the show to go on after he collapses. After Stanley's father berates him, Stanley runs away. Donnie Smith, former What Do Kids Know? champion, watches the show from a bar. Donnie's parents took all his prize money. He has been fired from his job due to performance issues and is in love with a male bartender with braces. Donnie is obsessed with getting braces himself, thinking the bartender will love him back. He hatches a plan to steal money from his boss for the surgery. The show's former producer, Earl Partridge, is also dying of cancer. Earl's trophy wife, Linda, collects his prescriptions while he is cared for by a nurse, Phil Parma. Earl asks Phil to find his estranged son, Frank Mackey, a motivational speaker and pickup artist. Frank is interviewed by a journalist who knows Frank took care of his dying mother after Earl left. Frank storms out of the interview, after which Phil tries to contact him. Linda goes to see Earl's lawyer, hoping to change Earl's will. She married Earl for his money, but now loves him and does not want it. The lawyer suggests she renounce the will and decline the money, which would go to Frank. Linda rejects his advice and berates Phil for seeking out Frank, but later apologizes. She drives to a vacant parking lot and takes handfuls of medicine with alcohol. Dixon finds Linda near death in her car, robs her, and calls an ambulance. Jim loses his gun while trying to catch a suspect. When he meets Claudia, they promise to be honest with each other, so he confesses his ineptitude as a cop and admits he has not been on a date since he divorced three years earlier. Claudia says he will hate her because of her problems, but Jim assures her that her past does not matter. They kiss, but she runs off. Jimmy goes home to his wife, Rose, and confesses that he cheated on her. She asks why Claudia does not talk to him, and Jimmy admits that Claudia believes he molested her. Rose demands to know if it is true, but Jimmy says he cannot remember. Rose leaves him. Donnie takes money from his employer's safe. As he drives away, he decides to return the money but cannot get back in. While climbing a utility pole to the roof, Jim sees him. Suddenly, frogs begin falling from the sky. Donnie is knocked from the pole, smashing his teeth. As Jimmy is about to shoot himself, frogs fall through his skylight, causing him to shoot the television and cause a house fire. Rose crashes her car outside of Claudia's apartment, but makes it inside and reconciles with her daughter. Earl is awakened and sees Frank beside him before dying. Linda's ambulance crashes in front of the hospital. Donnie is rescued by Jim, and Jim's gun falls from the sky. Jim helps Donnie return the money. Frank goes to the hospital to be with Linda, who will recover. Stanley wakes his father to tell him that he needs to be nice to him, but his father tells him to go to bed. Jim goes to see Claudia, telling her he wants to make things work between them. As Jim is explaining, Claudia smiles.

THE CLOUD-CAPPED STAR (Ritwik Ghatak, 1960)

The film revolves around Nita (played by Supriya Choudhury), a young girl who lives with her family, refugees from East Pakistan, in the suburbs of Calcutta. Nita is a self-sacrificing person who is constantly exploited by everyone around her, even her own family, who take her goodness for granted. Her father has an accident and is unable to make a living. Her elder brother Shankar (played by Anil Chatterjee) believes that his craft (singing) needs to be perfected before he can make any income from it and therefore the burden of taking care of the family falls on Nita. Her life is ridden with personal tragedy: her lover Sanat leaves her for her sister Geeta, her younger brother is injured while working in a factory and finally she herself becomes a burden for her family by contracting tuberculosis. Her mostly absent would-be singer brother is the only person who cares about her in the end. At the end of the film, she screams out her agony, throwing herself into her brother's arms. She utters her last words: "Brother, I want to survive (দাদা, আমি বাঁচতে চাই।)."

PLATFORM (Jia Zhangke, 2000)

The film starts in 1979 in the wake of the Cultural Revolution. A theatre troupe of young adults in Fenyang performs state-approved material. The troupe includes Cui Minliang and his friends, Yin Ruijuan, Zhang Jun, and Zhong Ping. Zhang and Zhong are together. Cui asks Yin if she is his girlfriend, but she does not answer him directly. The next day, one of her friends confronts Cui to say that his talking to Yin about their relationship has caused much concern and consternation to Yin, and Cui takes note. He goes out of his way to meet with Yin again, and all she can do is recount all of the reasons that the two of them do not make a good couple. Cui is dejected by her spurning and leaves her to stand alone among the dilapidated old buildings in the courtyard where they spoke. The troupe leaves their hometown and travels throughout the country for several years during the 1980s. Yin stays behind in Fenyang and becomes a tax collector. The authorities find out about the illegal sexual relationship between Zhang and Zhong, and Zhong then leaves the group, never to return. As China undergoes massive social changes, the troupe alters their performances and starts to play rock music. They eventually return to Fenyang. Cui, jaded by his years on the road, reunites with Yin.

BLACK GOD, WHITE DEVIL (Glauber Rocha, 1964)

The film starts in the 1940s, during another drought in the sertão, when ranch hand Manoel (Geraldo Del Rey) is fed up with his situation and hopes to buy his own plot of land. His boss tries to cheat him of his earnings and Manoel kills him, fleeing with his wife, Rosa (Yoná Magalhães). Now an outlaw, Manoel travels to the holy site of Monte Santo to join up with a religious cult headed by the self-proclaimed saint Sebastião who condones violence (at one point slaughtering a baby) and preaches disturbing doctrines against the wealthy landowners. All the while, the church and local elites hire a bounty hunter by the name of Antônio das Mortes to take out the group. Before Antônio is able to assassinate Sebastião, Rosa stabs Sebastião, leaving him dead and the two are on the move once again. At this point, the couple end up with a band of cangaceiros also working to take down the government and bosses of the sertão. Antônio is now tasked with assassinating these bandits. He finds head cangaceiros Corisco and Dadá and murders them, leaving Manoel and Rosa alone all again. And so it goes, the two running from one allegiance to another, following the words of others as they attempt to find a place in their ruthless land. Blending mysticism, religion, and popular culture in this symbolic and realistic drama, Rocha insists that rather than follow the external and obscure dogmas of culture and religion, man must determine his path by his own voice.[citation needed]

FEAR EATS THE SOUL (Rainer Werner Fassbinder, 1974)

The film takes place an unspecified number of months after the Munich Massacre in West Germany. Emmi, a 60-year-old window cleaner and widow, enters a bar, driven in by the rain and wanting to listen to the music being played inside. A woman in the bar tauntingly suggests Ali, a Moroccan Gastarbeiter (guest worker) in his late thirties, ask Emmi to dance, to which Emmi accepts. After they dance, they develop a friendship and Ali follows Emmi home, staying at her apartment for the night. After more interaction, they start to fall in love and Ali continues to live with Emmi. Emmi decides to visit her children to introduce them to Ali; daughter Krista and her tyrannical son-in-law Eugen; Eugen thinks she is losing her sanity and Krista thinks that her mother - who has been a widow for years - is fantasising. Their relationship is threatened when the landlord's son, who has been sent on the assumption that Emmi has taken in a lodger, tells Emmi that subletting is against Emmi's tenancy agreement, and that Ali must leave within a day. Fearful of losing Ali, Emmi claims that she and Ali are planning to marry. After the landlord's son apologises for the misapprehension and leaves, Emmi speaks to Ali and apologises for having invented the idea of her marrying him, but is surprised by Ali when he says that it is an excellent idea. The film then shows them in a civil court, married. Their marriage is looked upon negatively by those who live near them, which include apartment tenants and shopkeepers. Emmi is shunned by her work colleagues, and Ali faces discrimination at every turn. When Emmi invites her three grown children and son-in-law to meet Ali, they openly reject him. One of Emmi's sons smashes in her TV set in anger, her other son declares she must have lost her sanity, calls Emmi a "*****". Before the four leave Emmi's apartment, her daughter mentions it a "pigsty". Emmi's sadness towards this rejection washes away as her optimism resurfaces and she decides that she and Ali should take a long holiday together to escape the discrimination, convinced that upon their return, they will have been missed and will be welcomed back. After their return, they face less discrimination, but only because neighbouring tenants and shopkeepers see the gain in treating Emmi better, not because they have outgrown their prejudices. Wanting to get back with her old friends after their apparent renewed respect, Emmi begins to neglect Ali and adopt some of their attitudes toward him. She becomes more strict, ordering him to do more things. When co-workers visit and remark on how surprisingly clean he is and comment on his muscles, she shows him off as if he were an object. This causes Ali to leave, to which Emmi remarks to her friends of his "mood swings" and that his attitude must be due to his "foreigner mentality". Ali seeks comfort in bar maid Barbara, who it is suggested he had a relationship with prior to meeting Emmi. Ali returns to Barbara on another day, spending the night with her. Emmi visits Ali at work, where he pretends he doesn't know her; his workmates make fun of her age, calling her his "Moroccan grandmother", to which Ali does not intervene. When it seems as if the relationship is beyond repair, Emmi goes back to the bar where they first met to meet with Ali and has the bar maid put the same song on the jukebox that led to their dance in the beginning of the film. They decide to dance together, and, while dancing, Emmi emphasizes that she knows she is old and that he is free to come and go, but she tells him that when they are together, they must be nice to each other. He agrees, and they declare their love for each other. Ali then collapses in Emmi's arms from what turns out to be a burst stomach ulcer. The film then shows Emmi with Ali in the hospital, where a doctor tells her the illness is common among foreign workers because of the stress they face in everyday life; the doctor then adds that Ali will have surgery to remove the ulcer, though he will probably be back in six months with another ulcer. Emmi declares that she will do everything in her power to prevent this and holds Ali's hand.

SPRING IN A SMALL TOWN (Fei Mu, 1948)

The film takes place in a ruined family compound in a small town in the Jiangnan region after the Sino-Japanese War, and it tells the story of the once-prosperous Dai family. The film opens with Yuwen (Wei Wei) walking alone along the ruins of the city wall, narrating the slow-paced, circular nature of her life. Her husband Liyan (Shi Yu) is ill and wallows in the miserable reality of his family's loss. Due to his illness and depression, his marriage to Yuwen has long been loveless, though both remain dutiful spouses to each other. Liyan spends his days in the courtyard expressing nostalgia for a better time. Meanwhile, Liyan's young teenage sister Xiu (Zhang Hongmei), too young to remember the past, stays cheerful and playful in the ruins of their home. Lao Huang (Cui Chaoming) is an old servant of the Dai family who faithfully remains with the family. The Dai family still manages to live in an uneventful peace, but this is suddenly challenged by an unexpected visit from Liyan's childhood friend Zhang Zhichen (Li Wei), a doctor from Shanghai who previously had a relationship with Yuwen. Yuwen is conflicted between her love for Zhichen and her loyalty to her husband. During Zhichen's first evening at the home, Yuwen rekindles their love, visiting him and sending him some bedding and a thermos to show her concern. The next day, Liyan, Yuwen, Zhichen, and Xiu spend the day together walking and boating. Liyan and Zhichen talk later in the day and Liyan expresses love for his wife but feels unworthy of her. Liyan suggests that things would be better if Yuwen married Zhichen, making Zhichen feel guilty. Xiu, having just turned sixteen years old, develops romantic feelings for Zhichen, who himself is conflicted between his love for Yuwen and his loyalty to Liyan. As the film progresses, Liyan and Xiu begin to suspect that Zhichen and Yuwen have strong feelings for one another. One night, Zhichen, Liyan, Yuwen, and Xiu drink and play games together. Liyan notices happiness in Yuwen that he has not seen in a while, but it is only because of her interaction with Zhichen. In a conversation with Yuwen shortly after, Liyan expresses his shame for being an inadequate husband, and he wishes out loud that Yuwen had married Zhichen instead. As Yuwen and Zhichen struggle between overcoming or succumbing to their passion for each other, Liyan attempts suicide by taking an overdose of sleeping pills. Old Huang finds Liyan passed out on his bed, and gathers everyone else. Liyan survives, but the attempted suicide convinces Zhichen to leave and Yuwen to stay in the relationship with her husband. In the final sequence of the film, Dai Xiu and Old Huang walk Zhichen to the train station, while Yuwen is on the wall with Liyan and points into the horizon.[6]

THE PUPPETMASTER (Hou Hsiao-hsien, 1993)

The film tells the story of Li Tian-lu (1910-1998), who becomes a master puppeteer but is faced with demands to turn his skills to propaganda during the Japanese occupation of Taiwan in World War II. Scenes from his childhood and early adulthood are intercut with puppet performances and newly-filmed interviews of Li recounting his life as he's swept up in Taiwan's tumultuous history.[2][3] The film is the second in Hou's trilogy of historical films about Taiwan in the 20th century. A City of Sadness (1989) covered the four years between the end of World War II and the retreat of the Kuomintang to Taiwan in 1949, when Taipei was declared the "temporary" capital of the Republic of China. Good Men, Good Women (1995) later covered forty additional years of Taiwanese history, from the 50s to the present.[4]

SYNDROMES AND A CENTURY (Apichatpong Weerasethakul, 2006)

The film was among the works commissioned for Peter Sellars' New Crowned Hope festival in Vienna to celebrate the 250th anniversary of the birth of Wolfgang Amadeus Mozart. It premiered on August 30, 2006 at the 63rd Venice Film Festival. The film is a tribute to the director's parents and is divided into two parts, with the characters and dialogue in the second half essentially the same as the first, but the settings and outcome of the stories different. The first part is set in a hospital in rural Thailand, while the second half is set in a Bangkok medical center. "The film is about transformation, about how people transform themselves for the better," Apichatpong said in an interview. In Thailand, Syndromes and a Century became controversial after the Board of Censors demanded that four scenes be cut in order for the film to be shown commercially. The director refused to cut the film and withdrew it from domestic release. Since then, the director had agreed to a limited showing in Thailand where the cut scenes were replaced with a black screen to protest and inform the public about the issues of censorship.

FACES (John Cassavetes, 1968)

The film, shot in cinéma vérité-style, depicts the final stages of the disintegrating marriage of a couple (John Marley and Lynn Carlin). We are introduced to various groups and individuals the couple interacts with after the husband's sudden statement of his desire for a divorce. Afterwards, he spends the night in the company of brash businessmen and prostitutes, while the wife spends it with her middle-aged female friends and an aging, free-associating playboy they've picked up at a bar. The night proceeds as a series of tense conversations and confrontations occur.

PARIS, TEXAS (Wim Wenders, 1984)

Travis Henderson is seen wandering through the West Texas desert, bewildered and holding an empty gallon jug of water. He wanders into a convenience store, opens a freezer, and starts eating ice before losing consciousness. A European doctor examines Travis and discovers that he is mute. The doctor goes through Travis's wallet and finds a card with a phone number on it. He calls the number, which belongs to Walt Henderson, Travis's brother. Walt makes the journey from Los Angeles to Terlingua, Texas to pick up Travis, who he'd presumed was dead after not hearing from him for several years. Walt's wife Anne is slightly troubled by this, since she and Walt had adopted Travis's son, Hunter, as Hunter's biological mother Jane had been out of his life for years. Walt arrives in Terlingua and finds Travis wandering miles down the road from the clinic. The two brothers begin their road trip back to Los Angeles. Walt grows increasingly frustrated with Travis's muteness and confronts him about his disappearance and abandonment of Hunter. At the mention of Hunter, Travis begins to cry, but still does not speak. The following day, Travis finally begins to speak and produces a photo of a plot of land, explaining to Walt that he purchased a property in Paris, Texas. The brothers arrive in Los Angeles and Travis is reunited with Hunter. Hunter has little recollection of his father and is initially timid around him. Walt shows Hunter old home videos of them and Jane, and, after much persistence by Travis, Hunter begins to grow comfortable around his father. Anne tells Travis in confidence that Jane deposits monthly payments into a bank account for Hunter, and that the bank is in Houston. Travis becomes immediately determined to find Jane, and tells Hunter that he has to leave the following night. Hunter tells Travis that he wants to accompany him, though they don't have the permission of Walt and Anne. Travis and Hunter embark on a road trip to Houston, with the two of them bonding and growing closer. They finally arrive at the bank on the day of the expected deposit and make a plan to locate Jane's car. Hunter spots Jane making a drive-in deposit, and the two follow her car to a peep show club where she works. Travis goes inside while Hunter waits in the car. The peep show is designed so that customers sit on one side of a one-way mirror with a telephone intercom to the performer. When Jane enters the room, Travis is unable to speak, and soon leaves without saying a word to her. Travis is angry, driving to a bar and drinking while Hunter complains. The following day, Travis drops Hunter off at the Meridian Hotel and goes back to Jane's work. He goes to Jane's room, this time turning his chair so it faces away from her. On the phone, he tells her a vague story about a man and a younger woman who met, quickly fell in love with each other, got married, and had a child. Jane is initially confused, but soon realizes that it is Travis on the phone. He tells her that after the child was born, the wife suffered from postpartum depression, becoming irritable and yearning for an escape. She would have dreams about running naked down a highway, but just as she was about to finally leave, he would appear and stop her. The now-alcoholic husband, fearing his wife's departure, tied a cowbell to her foot so he'd be able to hear if she left in the night. On one night, the wife — having stuffed socks in the cowbell to muffle the sound — successfully snuck out, though the husband caught her and dragged her back home. He tied her to a stove with his belt and went to bed. When he woke up, the house was on fire and the wife and child were gone. Jane turns the light off on her side and finally sees Travis. She expresses pain and regret over missing Hunter's childhood. Travis tells Jane that Hunter is in Houston waiting for her, and gives her Hunter's room number at the Meridian Hotel. That night, Jane and Hunter are reunited while Travis watches from the parking lot. Travis gets into his car and drives away, smiling to himself.

CINEMA PARADISO (Giuseppe Tornatore, 1988)

n 1988 Rome, Salvatore Di Vita, a famous film director, returns home late one evening, where his girlfriend sleepily tells him that his mother called to say someone named Alfredo has died. Salvatore shies from committed relationships and has not been to his home village of Giancaldo, Sicily in thirty years. As his girlfriend asks him who Alfredo was, Salvatore is not able to fall asleep and flashes back to his childhood. A few years after World War II, eight-year-old Salvatore is the mischievous, intelligent son of a war widow. Nicknamed Toto, he discovers a love for films and spends every free moment at the local movie house, named Cinema Paradiso. Although they initially start off on tense terms, he develops a friendship with the middle-aged projectionist, Alfredo, who often lets him watch movies from the projection booth. During the shows, the audience can be heard booing because there are missing sections, causing the films to suddenly jump, bypassing scenes with romantic kisses or embraces. The local priest, owner of the cinema, had ordered these sections to be censored, and the deleted scenes are cut from the film reels by Alfredo and piled on the projection room floor, where Alfredo keeps them until he can splice them back in for the film to be sent to the next town. Alfredo eventually teaches Salvatore how to operate the film projector. One day, Cinema Paradiso catches fire as Alfredo is projecting The Firemen of Viggiù after hours, on the wall of a nearby house. Salvatore saves Alfredo's life, but not before a reel of nitrate film explodes in Alfredo's face, leaving him permanently blind. The movie house is rebuilt by a town citizen, Ciccio Spaccafico, who invests a big football lottery winning. Salvatore, still a child, is hired as the new projectionist, as he is the only person who knows how to run the machines. About a decade later, Salvatore, now in high school, is still operating the projector at the "Nuovo Cinema Paradiso". His relationship with the blind Alfredo has strengthened, and Salvatore often looks to him for help - advice that Alfredo often dispenses by quoting classic films. Salvatore has been experimenting with filming, using a home movie camera; doing this he has met, and captured on film, a girl named Elena Mendola, daughter of a wealthy banker, and has fallen in love with her. Salvatore woos - and wins - Elena's heart, only to lose her due to her father's disapproval. As Elena and her family move away, Salvatore leaves town for compulsory military service (even if, as a war orphan, he should be exempted from it). His attempts to write to Elena are fruitless; his letters are returned as undeliverable. Upon his return from the military, Alfredo urges Salvatore to leave Giancaldo permanently, counseling that the town is too small for Salvatore to ever find his dreams. Moreover, the old man tells him, once Salvatore leaves, he must pursue his destiny wholeheartedly, never looking back and never returning, even to visit; he must never give in to nostalgia or even write or think about them. They tearfully embrace, and Salvatore leaves town to pursue his future as a filmmaker. Once back in present time, Salvatore realizes that he is very satisfied with his life from a professional point of view but not from a personal one, so decides to return home to attend Alfredo's funeral. Though the town has changed greatly, he now understands why Alfredo thought it was important that he leave. Alfredo's widow tells him that the old man followed Salvatore's successes with pride and he left him something: an unlabeled film reel and the old stool that Salvatore once stood on to operate the projector. Salvatore learns that Cinema Paradiso is to be demolished to make way for a parking lot. At the funeral, he recognizes the faces of many people who attended the cinema when he was the projectionist. Salvatore comes back to Rome, watches Alfredo's reel and discovers it comprises all the romantic scenes that the priest had ordered Alfredo to cut from the movies; Alfredo had spliced the sequences together to form a single unreduced film of aching desire and lustful frenzy. In the final scenes, Salvatore makes peace with his past with tears in his eyes.

TAXI DRIVER (Martin Scorsese, 1976)

Travis Bickle is a young man living alone in New York City. He takes a job as a night shift taxi driver to cope with his chronic insomnia and loneliness. He frequently goes to the porn theaters on 42nd Street and keeps a diary in which he consciously attempts to include aphorisms such as "you're only as healthy as you feel." He becomes disgusted with the crime and urban decay that he witnesses in Manhattan and dreams about ridding "the scum off the streets." Travis becomes infatuated with Betsy, a campaign volunteer for Senator and presidential candidate Charles Palantine. Travis enters the campaign office where she works and asks her out for coffee, to which she agrees. Betsy confesses that she feels a special connection to Travis and agrees to go on another date with him. During their date, Travis takes Betsy to a porn theater, which repulses her and causes her to leave. He attempts to reconcile with her, but to no avail. Enraged, he storms into the campaign office where she works and berates her before he is ordered to leave. Experiencing an existential crisis and seeing various acts of prostitution throughout the city, Travis confides in a fellow taxi driver nicknamed Wizard about his violent thoughts. However, Wizard dismisses them and assures him that he will be fine. In an attempt to find an outlet for his rage, Travis begins a program of intense physical training. A fellow taxi driver recommends him to a black market gun dealer, Easy Andy, from whom Travis buys four handguns. At home, Travis practices drawing his weapons, and modifies one to allow him to hide and quickly deploy it from his sleeve. He begins attending Palantine's rallies to scope out his security. One night, Travis shoots and kills a man attempting to rob a convenience store run by a friend of his. On his trips around the city, Travis regularly encounters Iris, a child prostitute. He solicits her and tries to persuade her to stop prostituting herself. Soon after, Travis cuts his hair into a mohawk and attends a public rally where he plans to assassinate Palantine. However, he is chased away by Secret Service agents, who see him unzipping his jacket and putting his hand inside. That evening, Travis drives to the brothel where Iris works to shoot her pimp, Sport. He enters the building and engages in a shootout with Sport and one of Iris's clients, a mafioso. Travis is shot several times, but manages to kill the two men. He then brawls with the bouncer, whom he manages to stab through the hand with his knife located in his shoe and finish off with a gunshot to the head. Travis attempts to commit suicide, but is out of bullets. Bloody and injured, he slumps on a couch next to a sobbing Iris. As police respond to the scene, a delirious Travis imitates shooting himself in the head using his finger. Travis goes into a coma due to his injuries. He is heralded by the press as a heroic vigilante and is not prosecuted for the murders, also receiving a letter from Iris's father, thanking him. After recovering, Travis grows his hair out and returns to work, where he encounters Betsy as a fare; they interact cordially, with Betsy saying she followed his story in the newspapers. Travis drops her at home, and declines to take her money, driving off with a smile. He suddenly becomes agitated after noticing something in his rearview mirror.

OLYMPIA (Leni Riefenstahl, 1938)

The first documentary about the Olympics made, Olympia set the precedent for future cinematic documents, glorifying the Olympics, particularly the Summer Games. The 1936 Summer Olympics torch relay was devised for the Games by the secretary general of the Organizing Committee, Dr. Carl Diem. Riefenstahl staged the torch relay for the film, with competitive events of the Games. Many advanced motion picture techniques, which later became industry standards but which were groundbreaking at the time, were employed, including unusual camera angles, smash cuts, extreme close-ups and placing tracking shot rails within the bleachers. Although restricted to six camera positions on the stadium field, Riefenstahl set up cameras in as many other places as she could, including in the grandstands. She attached automatic cameras to balloons, including instructions to return the film to her, and she also placed automatic cameras in boats during practice runs. Amateur photography was used to supplement that of the professionals along the course of races. Perhaps the greatest innovation seen in Olympia was the use of an underwater camera. The camera followed divers through the air and, as soon as they hit the water, the cameraman dived down with them, all the while changing focus and aperture.[1] While the craft employed are almost universally admired, Olympia is controversial due to its political context and propaganda value. Nevertheless, it appears on many lists of the greatest films of all time, including Time magazine's "All-Time 100 Movies".[2]

L'ÂGE D'OR (Luis Buñuel, 1930)

The first scene of the film is a documentary about scorpions. After that, the film is a series of vignettes, wherein a couple's attempts at consummating their romantic relationship are continually thwarted by the bourgeois values and sexual mores of family, church, and society. The couple are first seen creating a disturbance by making love in the mud during a religious ceremony. The man is apprehended and led away by two men who struggle to control their captive's sudden impulses. He momentarily breaks free long enough to kick a small dog. Later he struggles free to aggressively crush a beetle with his shoe. As he is escorted through city streets, he sees an advertisement that inspires him to fantasize a woman's hand rubbing herself, and becomes transfixed by another advertisement showing a woman's legs in silk stockings. He eventually escapes his handlers, inexplicably assaults a blind man standing at a curb, and gets into a taxi. Meanwhile, the woman is at home, where she tells her mother she hurt her finger, which is wrapped in a bandage that disappears and reappears from scene to scene. The woman and her parents attend a party where the guests seem oblivious to alarming or incongruous events in their midst: a maid screams and falls to the floor after emerging from a doorway where flames are visible; a horse-drawn cart filled with rowdy men drinking from large bottles passes through the elegant company in the ballroom; the father converses with guests while ignoring several flies on his face; a small boy is shot and killed for a minor prank. The man arrives at the party and sees his lover from across the room. He behaves brusquely toward the other guests while looking ardently in the woman's direction, and she looks longingly at him. The woman's mother hands the man a drink, but spills a drop on his hand. He becomes enraged and slaps her, which seems to excite the daughter. Seeking sexual release and satisfaction, the couple go into the garden and make love next to a marble statue, while the rest of the party guests assemble outdoors for an orchestral performance of Liebestod. When the man is called away to answer a telephone call, the woman sublimates her sexual passion by fellating the toe of the statue until the man returns. The Liebestod music stops abruptly when the conductor, his hands gripping his head, walks away, and wanders into the garden where the couple are. The woman runs to comfort the elderly conductor before finally French kissing him. The man stands up, bumping his head on a hanging flower pot, and grasps his head in pain as he leaves the garden. He stumbles away to her bedroom where he throws a burning tree, a bishop, a plow, the bishop's staff, a giraffe statue and handfuls of pillow feathers out the window. The final vignette is an allusion to the Marquis de Sade's 1785 novel (first published in 1904) The 120 Days of Sodom—the intertitle reads: 120 Days of Depraved Acts—and is about an orgy in a castle, wherein the surviving orgiasts are ready to emerge to the light of mainstream society. From the castle door emerges the bearded and berobed Duc de Blangis (a character from de Sade's novel) who greatly resembles Jesus, the Christ, who comforts a young woman who has run out from the castle, before he takes her back inside. Afterwards, a woman's scream is heard, and only the Duc re-emerges; and he is beardless. The concluding image is a Christian cross festooned with the scalps of women; to the accompaniment of jovial music, the scalps sway in the wind.

THE WHITE RIBBON (Michael Haneke, 2009)

The memories of an unnamed elderly tailor form a parable from the distant year he worked as a village schoolteacher and met his fiancée Eva, a nanny. The setting is the fictitious Protestant village of Eichwald, Northern Germany, from July 1913 to 9 August 1914, where the local pastor, the doctor and the baron rule the roost over the area's women, children and peasant farmers. The puritanical pastor leads confirmation classes and gives his pubescent children a guilty conscience over apparently small transgressions. He has them wear white ribbons as a reminder of the innocence and purity from which they have strayed. When under interrogation, his son confesses to 'impure' touching; the pastor has the boy's hands tied to his bed frame each night. The doctor, a widower, treats the village children kindly but humiliates his housekeeper (the local midwife, with whom he is having sexual relations) and also sexually abuses his teenage daughter. The baron, who is the lord of the manor, underwrites harvest festivities for the villagers, many of them his farm workers. After his young son is abusively injured by unknown assailant(s), he summarily dismisses Eva for no apparent reason, yet defends the integrity of a farmer whose son in a symbolic act has destroyed the baron's field of cabbages. The schoolteacher's friendship with Eva leads to a visit to her family home during a Christmas break; asking for her hand in marriage, he receives from her taciturn father a reluctant permission to marry, but only after a one-year test-period delay. Unexplained harmful events occur. A wire is stretched between two trees causing the doctor a terrible fall from his horse. The farmer's wife dies at the sawmill when rotten floorboards give way; her son was the cabbage-field vandal, and her grieving husband later hangs himself. The baron's young son Sigi goes missing on the day of the harvest festival and is found the following morning in the sawmill, bound and badly caned. A barn at the manor burns down. The baroness tells her husband that she is in love with another man. Shortly after the pastor has singled-out and mortified his daughter in class, she opens his parakeet's cage with scissors in hand; the pastor finds the bird on his desk, cruelly impaled in the shape of a cross. The daughter of the steward at the baron's estate claims a violent dream-premonition about harm coming to the midwife's handicapped son, then the boy is attacked and almost blinded, found during a night search along with a well-written note quoting Exodus 20:5. The steward violently thrashes his son for stealing a flute from Sigi. The midwife urgently commandeers a bicycle from the schoolteacher to go to the police in town, claiming that her son has said he knows who attacked him. She and her son are not seen again. Meanwhile, the doctor and his family have also suddenly disappeared, leaving a note on the door indicating his practice is closed. The schoolteacher's growing suspicions lead to a confrontation in the pastor's rectory, where he suggests that the pastor's children and students had prior knowledge of the local troubles and insinuates that they likely perpetrated them. Offended, the pastor berates him and threatens to report him to the authorities if he repeats his accusations. The film ends a few days after World War I officially begins, with the final scene occurring in Sunday church on the day of a visit from the narrator's prospective father-in-law. Disquiet remains in the village, with no explanation of the violent events. The narrator is eventually drafted, leaving Eichwald, never to return.

DAYS OF BEING WILD (Wong Kar-wai, 1990)

The movie begins in 1960 Hong Kong. Yuddy, a smooth-talking playboy seduces Li-zhen but is uninterested in pursuing a serious relationship with her. Li-zhen, who wants to marry him, is heartbroken and decides to leave. Yuddy moves on to a new relationship with vivacious cabaret dancer Mimi. His friend Zeb is also attracted to her but she doesn't reciprocate his feelings. Yuddy has a tense relationship with his adoptive mother Rebecca, a former prostitute, after she reveals that he is adopted. He also doesn't approve of her choice of lovers much younger than her who he thinks are taking advantage of her. She initially refuses to reveal who his birth mother is but eventually relents and tells him that she lives in the Philippines. Li-zhen finds solace in Tide, a policeman who does his rounds near Yuddy's house. Tide dreams of becoming a sailor but he chooses to be a policeman to stay and look after his mother. Li-zhen talks about her failed love affair, her successful cousin's impending marriage and how she misses home. Li-zhen, who works at the ticket stall of a soccer stadium, promises Tide a free ticket to a match of his choice and Tide tells her to call him on a phone booth he passes every night if she ever needs anyone to talk to. Their near-romance is hinted at but never materializes. When his mother passes, Tide leaves to become a sailor. Meanwhile, Yuddy decides to find his birth mother and leaves for the Philippines, giving his car to Zeb and without informing Mimi. Mimi is distraught and resolves to follow him. Zeb, his love still unrequited, sells Yuddy's car to finance her trip and asks her to come back to him if she doesn't find Yuddy. Yuddy finds his mother's house but she refuses to see him. Tide, now a sailor on a stopover in the Philippines, finds a drunk Yuddy passed out on the street and brings him to his hotel room. Yuddy doesn't recognise him but accepts his assistance. He gets into a fight at the railway station over payment for an American passport and stabs a man. Tide saves him and they escape aboard a train. Tide asks him if he remembers what happened on a particular date to an exact minute, referring to something he told Li-zhen at the start of their courtship. He says that he remembers and tells him it would be best to tell Li-zhen that he doesn't. Tide returns from a conversation with the train conductor to find Yuddy shot to death. A final sequence shows Mimi having arrived in the Philippines, Li-zhen closing up at the ticket stall and a phone at the booth ringing. The movie ends with a shot of a slick young man, smoking and readying himself in a darkened room.

THE FLOWERS OF ST. FRANCIS (Roberto Rossellini, 1950)

The movie begins with an introduction to the Franciscan friars as they trudge through the mud in the pouring rain to their hut. They find the hut occupied by a peasant and his donkey. The man, declaring the Franciscans thieves, drives them out of their hut. The Franciscans rejoice and see this as a call to follow Francis. The rest of the film is divided into nine chapters each covering an incident in the life of St. Francis subsequent to his vocation. Each chapter is introduced by a parable and a chapter marker. 1 - How Brother Ginepro returned naked to St. Mary of the Angels, where the Brothers had finished building their hut. While the Franciscan friars build a new hut, two brothers return with a set of prayer bells, a gift from a generous donor. As they celebrate, one Franciscan friar, Ginepro, steps out of the bushes in his underwear; he gave away his habit to a beggar. Francis gently admonishes Ginepro for his naive generosity. 2 - How Giovanni, known as "the Simpleton", asked to follow Francis and began imitating him in word and gesture. The Franciscans go to the woods to meet Francis, who instructs them to preach the Gospel by their example. Meanwhile, Brother Ginepro is ordered to stay behind and cook for the friars. While the brothers attend to their tasks, Francis prays "O! Signore, fa di me uno strumento della tua Pace," or in English, "Lord, make me an instrument of Thy peace." After his prayer, an old man named Giovanni approaches Francis. He intends to give everything up to become a fellow Franciscan and has brought a bull with him as a gift. His family, however, reclaims the bull and leaves him to the Franciscans, who take Giovanni as a brother. 3 - Of the wonderful meeting between St. Clare and St. Francis at St. Mary of the Angels. Clare has expressed an ardent desire to dine with Francis. He accepts, and the Franciscans make the preparations for the dinner. They decorate their hut with wildflowers and with the tools they have, they brush their hair and trim their beards. A few moments later, Clare arrives with three of her sisters. Together, they and the friars enter the Chapel where Clare first professed her vows. They pray, and then they eat. The holiness of their conversation, as the narrator explains, ignites the sky with fire. 4 - How Brother Ginepro cut off a pig's foot to give to a sick brother. Ginepro and Brother Giovanni are tending to Brother Amarsebello, who has made himself sick from too much fasting. Ginepro makes Amarsebello a broth, but it tastes foul. Amarsebello asks Ginepro to make a stew with a pig's foot, and eager Ginepro consents to complete the task. He comes across a herd of pigs in the forest and thoughtlessly cuts off a pig's foot. The Franciscans return from their excursion, only to be confronted by an angry peasant, who demands recompense. Francis orders Ginepro to apologize, which he does. The peasant, however, leaves in silence. Moments later, the peasant returns with the rest of the pig. He gives it to the Franciscans, and then orders them to never come near his pigs. 5 - How Francis, praying one night in the woods, met the leper. Francis is lying alone in the woods, meditating on the passion and love of God, when he hears the sound of bells coming from a passing leper. He devotedly follows the leper, kissing and adoring him as the leper attempts to keep his distance. Filled with awe, Francis collapses on the ground, praising God for the encounter with the leper. 6 - How Brother Ginepro cooked enough food for two weeks, and Francis moved by his zeal gave him permission to preach. Ginepro is tired of being left behind to cook supper for the brothers and wants to join them when they preach, so he and Giovanni cook all of the food that the Franciscans have accumulated into a broth that will last for two weeks. Francis, touched by this, grants Ginepro permission to preach, instructing him to begin each sermon with these words, "I talk and talk yet I accomplish little." 7 - How Brother Ginepro was judged on the gallows, and how his humility vanquished the ferocity of the tyrant Nicalaio. This chapter focuses exclusively on Ginepro as he travels around Italy, trying to find someone who will listen to his preaching. He stumbles upon some children, who inform him that the tyrant Nicolaio has just occupied a neighbouring town. Excited by the new opportunity, Ginepro rushes to the village and attempts to preach to the barbarians. The barbarians, however, throw Ginepro around. It is in the midst of this abuse when Ginepro realises that he must preach not by words, but by example. Ginepro is brought before the tyrant. The barbarians search him, and discover an awl and flint. Nicolaio, accusing Ginepro of being an assassin, orders the barbarians to beat Ginepro with clubs and prepare him for his execution. In mercy, the barbarians allow him to see a priest, who immediately recognizes him as a follower of Francis. The priest pleads with Nicolaio to spare Ginepro, but Nicolaio refuses; he was told that an assassin, disguised as a beggar, would kill him with an awl and flint, the very tools Ginepro possesses. Nicolaio takes Ginepro into his tent and attempts to intimidate him to get the truth of the matter. As he gets increasingly flustered by Ginepro's humility, Nicolaio ultimately calls off the siege. 8 - How Brother Francis and Brother Leon experienced those things that are perfect happiness. Perhaps the most famous chapter in I Fioretti, this parable explains how one can truly be happy. Francis and another Franciscan, Brother Leone, posit many scenarios that would be considered to bring happiness: restoring sight to the blind, healing the crippled, casting out demons, converting heretics, and the like. But after each scenario, Francis calmly explains that none of these acts would bring perfect happiness. Exasperated, Leone begs Francis finally to tell him what will really bring such happiness. Francis points to a building and hopes that the Lord will show them the perfect bliss Francis has in mind. They knock on the door and ask the peasant inside for alms. He refuses them, yet the friars persist, proclaiming that they wish to praise Jesus with him. The peasant drives the Franciscans out of the building, beating them with a club before leaving. Francis turns to Leone and explains that this is perfect happiness: to suffer and bear every evil deed out of love for Christ. 9 - How St. Francis left St. Mary of the Angels with his friars and traveled the world preaching peace. Now it is time for the Franciscans to part, each called to go his own way to spread the message of the Gospel. They give away their land to the townsfolk and go to another town to give to the citizens all of their food. Once that's done, the friars take a moment to pray together one last time. Francis leads the Franciscans into the woods, but they are unsure which direction to go. Francis instructs them to spin in circles until they fall over from dizziness. Whichever direction they face when they fall is the way they should go to preach. The Franciscans do just that, and they all depart, singing a chant as they travel the world to preach the peace of Christ.

I AM CUBA (Mikhail Kalatozov, 1964)

The movie consists of four distinct short stories about the suffering of the Cuban people and their reactions, varying from passive amazement in the first, to a guerrilla march in the last. Between the stories, a female narrator (credited "The Voice of Cuba") says such things as, "I am Cuba, the Cuba of the casinos, but also of the people." The first story (centered on the character Maria) shows the destitute Cuban masses contrasted with the splendor in the American-run gambling casinos. Maria lives in a shanty-town on the edge of Havana and hopes to marry her fruit-seller boyfriend, Rene. Rene is unaware that she leads an unhappy double-life as "Betty", a bar prostitute at one of the Havana casinos catering to rich Americans. One night, her client asks her if he can see where she lives rather than take her to his own room. She takes him to her small hovel where she reluctantly undresses in front of him. The next morning he tosses her a few dollars and takes her most prized possession, her crucifix necklace. As he is about to leave Rene walks in and sees his ashamed fiancée. The American callously says, "Goodbye Betty!" as he makes his exit. He is disoriented by the squalor he encounters as he tries to find his way out of the area. The next story is about a farmer, Pedro, who just raised his biggest crop of sugar yet. However, his landlord rides up to the farm as he is harvesting his crops and tells him that he has sold the land that Pedro lives on to United Fruit, and Pedro and his family must leave immediately. Pedro asks what about the crops? The landowner says, "you raised them on my land. I'll let you keep the sweat you put into growing them, but that is all," and he rides off. Pedro lies to his children and tells them everything is fine. He gives them all the money he has and tells them to have a fun day in town. After they leave, he sets all of his crops and house on fire. He then dies from the smoke inhalation. The third story describes the suppression of rebellious students led by a character named Enrique at Havana University (featuring one of the longest camera shots). Enrique is frustrated with the small efforts of the group and wants to do something drastic. He goes off on his own planning on assassinating the chief of police, however when he gets him in his sights, he sees that the police chief is surrounded by his young children, and Enrique cannot bring himself to pull the trigger. While he is away, his fellow revolutionaries are printing flyers. They are infiltrated by police officers who arrest them. One of the revolutionaries begins throwing flyers out to the crowd below only to be shot by one of the police officers. Later on, Enrique is leading a protest at the university. More police are there to break up the crowd with fire hoses. Enrique is shot after the demonstration becomes a riot. At the end, his body is carried through the streets; he has become a martyr to his cause. The final part shows Mariano, a typical farmer, who rejects the requests of a revolutionary soldier to join the ongoing war. The soldier appeals to Mariano's desire for a better life for his children, but Mariano only wants to live in peace and insists the soldier leave. Immediately thereafter though, the government's planes begin bombing the area indiscriminately. Mariano's home is destroyed and his son is killed. He then joins the rebels in the Sierra Maestra Mountains, ultimately leading to a triumphal march into Havana to proclaim the revolution.

THE TENANT (Roman Polanski, 1976)

Trelkovsky, a quiet and unassuming man, rents an apartment in Paris whose previous tenant, Egyptologist Simone Choule, attempted to commit suicide by throwing herself out of the window and through a pane of glass below at 39 Rue de Calais. Before moving in officially, he meets the concierge, who shows the apartment to him, and also shows him where Simone fell. Nobody has any idea why she was suicidal. Trelkovsky visits Simone in the hospital but finds her entirely in bandages and unable to talk. Whilst still at Simone's bedside, Trelkovsky meets her friend, Stella, who has also come to visit. Stella is overwhelmed with emotion and begins talking to Simone, who looks towards her visitors and screams monstrously. The matron insists they leave, having already informed Trelkovsky that he may not speak to Choule. Trelkovsky tries to comfort Stella but dares not say that he never knew Simone, instead pretending to be another friend. They leave together and go out for a drink and a movie (1973's Enter The Dragon), where Stella fondles him. Outside the theatre they part ways. Later, Trelkovsky calls up the hospital to enquire about Simone, and is told she has died. As Trelkovsky occupies the apartment he is chastised repeatedly by his neighbors and landlord, Monsieur Zy, for hosting a party with his friends, apparently having a woman over, making too much noise in general, and not joining in on a petition against another neighbor. Trelkovsky attempts to adapt to his situation, but is increasingly disturbed by the apartment and the other tenants. He frequently sees his neighbors standing motionless in the toilet room (which he can see from his own window), and discovers a hole in the wall with a human tooth stashed inside. He discusses this with his friends, who do not find things strange and belittle him for not standing up to his neighbours. He visits the apartment of one of his work friends, who plays a marching band record at a spitefully loud volume. A neighbour politely asks him to turn down the music, as his wife is ill and trying to sleep. Trelkovsky turns the record down, but his friend tells the neighbour that he will play his music as he wants, and that he does not care about his sick wife. He receives a visit from one Georges Badar, who secretly loved Simone and has believed her to be alive and well. Trelkovsky updates and comforts the man and spends the night out with him. He receives a postcard that Badar had posted before realising Simone had died. Frequenting the nearby café which Simone also patronised, he is recognized as the new tenant of her apartment. The owner pressures him into having Simone's regular order, which is then always given to him without being ordered, against his preferences. They are always out of his preferred choice of cigarette, Gauloises, so he develops a habit of ordering Marlboros, which Simone used to order. Trelkovsky becomes severely agitated and enraged when his apartment is robbed, while his neighbors and the concierge continue to berate him for making too much noise, and his landlord warns him not to inform the police of the burglary. Suffering from fever and bad dreams, he wakes up one morning to find his face made up. He buys a wig and women's shoes and goes on to dress up (using Simone's dress which he had found in a cupboard) and sit still in his apartment in the dead of night. He suspects that Zy and the neighbors are trying to subtly change him into the last tenant, Simone, so that he too will kill himself. He becomes hostile and paranoid in his day-to-day environment (snapping at his friends, slapping a child in a park) and his mental state progressively deteriorates. He has visions of his neighbors playing football with a human head, finding the toilet covered in hieroglyphs, and looking across the courtyard, seeing himself standing at his apartment window, looking into the bathroom with binoculars. Trelkovsky runs off to Stella for comfort and sleeps over, but in the morning after she has left for work, he concludes that she too is in on his neighbors' plot, and proceeds to vandalise and burgle her apartment before departing. At night he is hit by an elderly couple driving a car. He is not injured too seriously, but receives a sedative injection from the doctor due to his odd behavior - he perceives the elderly couple as his landlord Zy and wife, and accuses them of trying to murder him. The couple returns him to his apartment. A deranged Trelkovsky dresses up again as a woman and throws himself out of the apartment window in the manner of Simone Choule, before what he believes to be a clapping, cheering audience composed of his neighbors. The suicide attempt wakes up his neighbors, who call the police and attempt to restrain him. He crawls away from them back to his apartment, and jumps out the window a second time moments after the police arrive. In the final scene, Trelkovsky is bandaged up in the same fashion as Simone Choule, in the same hospital bed. From his perspective, his and Stella's visit to Simone is shown. Trelkovsky then lets out a monstrous scream as Simone did in the earlier scene.

TWENTY YEARS LATER (Eduardo Coutinho, 1984)

The original script told the story of João Pedro Teixeira, a peasant leader from Sapé, Paraíba, who was assassinated in 1962 on the order of local landowners.[2][3] In 1962, Coutinho, replacing a cameraman of Centro Popular de Cultura (CPC), filmed a protest over the death of Teixeira in Paraíba and met Elizabeth, Teixeira's widow, for the first time.[2] On his return to Rio de Janeiro, he was offered the chance of directing a film for CPC.[2] Initially he wanted to adapt João Cabral de Melo Neto's poems "Cão sem plumas", "O rio" and "Vida e morte Severina" but the poet refused, so he decided to film the life of Texeira instead.[4] In 1963, he went to Paraíba and Pernambuco and within three days he wrote a screenplay based on Mrs. Teixeira's accounts.[4] Coutinho began shooting the film in 1964 and, in order to be more authentic, cast Mrs. Teixeira as herself and other farmers in the other roles.[5] He wanted to film in Sapé but because of local conflicts he moved the filming location to Vitória de Santo Antão, Pernambuco.[4] After 35 days shooting,[4] and with about 40 percent of the film complete, the Brazilian military dictatorship arrested some members of cast and crew and confiscated the script, stills and other materials.[3][5] The government also tried to confiscate the footage, but most had already been sent for processing in Rio and survived.[5] Returning to the region where Twenty Years later was shot to produce other documentaries in 1979, Coutinho considered completing the film.[6] He eventually concluded he needed to make a different kind of project, telling the story of the earlier filming and revisiting its cast and crew.[7] In 1984, he showed what he had filmed to Mrs. Teixeira and local people and documented their reactions to it and the changing times.[8]

SEVEN BEAUTIES (Lina Wertmüller, 1975)

The picaresque story follows its protagonist, Pasqualino (Giannini), a dandy and small-time hood in Naples in Fascist and World War II-era Italy. To defend his family's honor, Pasqualino kills a pimp who had turned his sister into a prostitute. To dispose of the victim's body, he dismembers it and places the parts in suitcases. Caught by the police, he confesses to the murder, but successfully pleads insanity and is sentenced to 12 years in a psychiatric ward. Desperate to get out, he volunteers for the Italian Army. With an Italian comrade, he eventually deserts the army, but they are captured and sent to a German concentration camp. Pasqualino attempts to survive the camp by providing sexual favors to the female commandant (Stoler). His plan succeeds, but the commandant puts Pasqualino in charge of his barracks as a kapo. He is told he must select six men from his barracks to be killed to prevent all from being killed. Pasqualino ends up executing his former Army comrade, and is responsible for the death of another fellow prisoner, a Spanish anarchist. At the war's end, upon his return to Naples, Pasqualino discovers that his seven sisters, his fiancée, and even his mother have all survived by becoming prostitutes. Unfazed, he insists on marrying his fiancée as soon as possible.

BLACK GIRL (Ousmane Sembene, 1966)

The plot continually shifts back and forth between Diouana's present life in France where she works as a domestic servant, and flashbacks of her previous life in Senegal. In the flashbacks, it is revealed that she comes from a poor village outside of Dakar. Most people are illiterate and Diouana would roam the city looking for a job. One day, the character of 'Madame' comes to the square looking for a servant and selects Diouana from amongst the unemployed women. Diouana was chosen because she does not aggressively demand a job like the other women; unlike the others, she did not crowd forward demanding a job. Initially, Madame hires Diouana to care for her children in Dakar. As a gift, Diouana gives her employers a traditional mask that she had bought from a small boy for 50 guineas, and they display it in their home. When Diouana is not working she goes for walks with her boyfriend. Monsieur and Madame then offer Diouana a job working for them in France. Diouana is thrilled, and immediately begins dreaming of her new life in France. "3. La noire de" by Festival de Cine Africano FCAT is licensed under CC BY-SA 2.0. Still of Mbissine Thérèse Diop as Diouana in Black Girl, written and directed by Ousmane Sembene. Once she arrives, Diouana is overwhelmed with cooking and cleaning for the rich couple and their friends. Madame treats her unkindly, and Diouana is confused as to her role. She thought that she would be caring for the children as in Senegal, and would be able to go outside and discover France. Yet, in France, her character does not leave the apartment, cooking and cleaning the house - a clear contrast to her previous life in Senegal where she spent much time outdoors. When Diouana works, she wears a fancy dress and heels. The mistress of the house tells her to remove them, telling her "don't forget that you are a maid". At one of the couple's dinner parties, one of their friends kisses Diouana in typical European fashion on the cheeks, explaining "I've never kissed a black girl before!" Diouana receives a letter from her mother, which Monsieur reads to her. Diouana's mother asks why she has not heard from her daughter, and asks for money. Diouana rips the letter up. Madame doesn't let her sleep in past breakfast time, and yells at her to get to work. Diouana attempts to take back the mask she gave to Madame, and a struggle ensues. Madame tells Diouana that, if she does not work, she cannot eat. Diouana refuses to work. Then, after Monsieur attempts to pay her salary and Diouana refuses to accept her pay, in an unexpected plot twist that is the climax of the film, Diouana commits suicide by slitting her throat in the bathtub of the family's home. The film ends with Monsieur journeying to Senegal to return Diouana's suitcase, mask, and money to her family. He offers Diouana's mother money, but she refuses it. As Monsieur leaves the village, the little boy with the mask runs along behind him.

STALKER (Andrei Tarkovsky, 1979)

The protagonist (Alexander Kaidanovsky) works in an unnamed location as a "Stalker" leading people through the "Zone", an area in which the normal laws of physics do not apply and remnants of seemingly extraterrestrial activity lie undisturbed among its ruins. The Zone contains a place called the "Room", said to grant the wishes of anyone who steps inside. The area containing the Zone is shrouded in secrecy, sealed off by the government and surrounded by ominous hazards. At home with his wife and daughter, the Stalker's wife (Alisa Freindlich) begs him not to go into the Zone, but he dismissively rejects her pleas. In a rundown bar-café, the Stalker meets his next clients for a trip into the Zone, the Writer (Anatoly Solonitsyn) and the Professor (Nikolai Grinko). They evade the military blockade that guards the Zone by following a train inside the gate and ride into the heart of the Zone on a railway work car. The Stalker tells his clients they must do exactly as he says to survive the dangers which lie ahead and explains that the Zone must be respected and the straightest path is not always the shortest path. The Stalker tests for various "traps" by throwing metal nuts tied to strips of cloth ahead of them. He refers to a previous Stalker named "Porcupine", who had led his brother to his death in the Zone, visited the Room, come into possession of a large sum of money, and shortly afterwards committed suicide. The Writer is skeptical of any real danger, but the Professor generally follows the Stalker's advice. As they travel, the three men discuss their reasons for wanting to visit the Room. The Writer expresses his fear of losing his inspiration. The Professor seems less anxious, although he insists on carrying along a small backpack. The Professor admits he hopes to win a Nobel Prize for scientific analysis of the Zone. The Stalker insists he has no motive beyond the altruistic aim of aiding the desperate to their desires. After traveling through the tunnels, the three finally reach their destination: a decayed and decrepit industrial building. In a small antechamber, a phone rings. The surprised Professor decides to use the phone to telephone a colleague. As the trio approach the Room, the Professor reveals his true intentions in undertaking the journey. The Professor has brought a 20-kiloton bomb with him, and he intends to destroy the Room to prevent its use by evil men. The three men enter a physical and verbal standoff just outside the Room that leaves them exhausted. The Writer realizes that when Porcupine met his goal, despite his conscious motives, the room fulfilled Porcupine's secret desire for wealth rather than bring back his brother from death. This prompted the guilt-ridden Porcupine to commit suicide. The Writer tells them that no one in the whole world is able to know their true desires and as such it is impossible to use the Room for selfish reasons. The Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces. No one attempts to enter the Room. The Stalker, the Writer, and the Professor are met back at the bar-café by the Stalker's wife and daughter. After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life. As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered directly to the camera. In the last scene, Martyshka, the couple's deformed daughter, sits alone in the kitchen reading as a love poem by Fyodor Tyutchev is recited. She appears to use psychokinesis to push three drinking glasses across the table, one falling off. A train passes by where the Stalker's family lives, and the entire apartment shakes.

IF.... (Lindsay Anderson, 1968)

The pupils return after the summer for a new Michaelmas term at a traditional British public school for boys in the late 1960s. Mick Travis arrives hiding his moustache, which he quickly shaves off. He, Wallace, and Knightly are three non-conformist boys in the lower sixth form, their penultimate year. They are watched and persecuted by the "Whips", upper sixth-formers given authority as prefects over the other boys. The junior boys are made to act as personal servants for the Whips, who discuss them as sex objects. The headmaster is remote from the boys and the housemasters. The protagonists' housemaster, Mr. Kemp, is easily manipulated by the Whips into giving them free rein in enforcing discipline. Some schoolmasters are shown behaving bizarrely. Mick and Johnny sneak off the school grounds and steal a motorbike from a showroom. They ride to a café staffed by an unnamed girl, about whom Mick fantasizes wrestling naked. Meanwhile, Wallace spends time with a younger boy, Bobby Philips, and later shares his bed. The three boys drink vodka in their study and consider how one man holds the potential to "change the world with a bullet in the right place." Their clashes with school authorities become increasingly contentious. Eventually, a brutal caning by the Whips spurs them to action. During a school Combined Cadet Force military drill, Mick acquires live ammunition, which he, Wallace, and Knightly use to open fire on a group of boys and masters, including Kemp and the school chaplain. When the latter orders the boys to drop their weapons, Mick assaults him and cows him into submission. As punishment for their actions, the trio are ordered by the headmaster to clean out a large storeroom beneath the main school hall. They discover a cache of firearms, including automatic weapons and mortars. Joined by Philips and the girl from the café, they commit to revolt against the establishment. On Founders' Day, when parents are visiting the school, the group starts a fire under the hall, smoking everyone out of the building. They then open fire on them from the rooftop. Led by a visiting General who had been giving a speech, the staff, students, and parents break open the Combined Cadet Force armoury and begin firing back. The headmaster tries to stop the fight, imploring the group to listen to reason. The girl shoots him between the eyes. The battle continues, and the camera closes in on Mick's face as he keeps firing.

NAPOLÉON (Abel Gance, 1927)

The scenario of the film as originally written by Gance was published in 1927 by Librairie Plon. Much of the scenario describes scenes that were rejected during initial editing, and do not appear in any known version of the film. The following plot includes only those scenes that are known to have been included in some version of the film. Not every scene described below can be viewed today.[7] Act I[edit] Brienne[edit] In the winter of 1783, young Napoleon Buonaparte (Vladimir Roudenko) is enrolled at Brienne College, a military school for sons of nobility, run by the religious Minim Fathers in Brienne-le-Château, France. The boys at the school are holding a snowball fight organised as a battlefield. Two bullies—Phélippeaux (Petit Vidal) and Peccaduc [fr] (Roblin)—schoolyard antagonists of Napoleon, are leading the larger side, outnumbering the side that Napoleon fights for. These two sneak up on Napoleon with snowballs enclosing stones. A hardened snowball draws blood on Napoleon's face. Napoleon is warned of another rock-snowball by a shout from Tristan Fleuri (Nicolas Koline), the fictional school's scullion representing the French everyman and a friend to Napoleon. Napoleon recovers himself and dashes alone to the enemy snowbank to engage the two bullies in close combat. The Minim Fathers, watching the snowball fight from windows and doorways, applaud the action.[4] Napoleon returns to his troops and encourages them to attack ferociously. He watches keenly and calmly as this attack progresses, assessing the balance of the struggle and giving appropriate orders. He smiles as his troops turn the tide of battle. Carrying his side's flag, he leads his forces in a final charge and raises the flag at the enemy stronghold. The monks come out of the school buildings to discover who led the victory. A young military instructor, Jean-Charles Pichegru (René Jeanne), asks Napoleon for his name. Napoleon responds "Nap-eye-ony" in Corsican-accented French and is laughed at by the others. Despite the fact Pichegru thought Napoleon had said "Paille-au-nez" (straw in the nose), Pichegru tells him that he will go far. In class, the boys study geography. Napoleon is angered by the condescending textbook description of Corsica. He is taunted by the other boys and kicked by the two bullies who hold flanking seats. Another of the class's island examples is Saint Helena, which puts Napoleon into a pensive daydream. Unhappy in school, Napoleon writes about his difficulties in a letter to his family. A bully reports to a monk that Napoleon is hiding letters in his bed, and the monk tears the letter to pieces. Angry, Napoleon goes to visit the attic quarters of his friend Fleuri, a place of refuge where Napoleon keeps his captive bird, a young eagle that was sent to him from Corsica by an uncle. Napoleon tenderly pets the eagle's head, then leaves to fetch water for the bird. The two bullies take this opportunity to set the bird free. Napoleon finds the bird gone and runs to the dormitory to demand the culprit show himself. None of the boys admits to the deed. Napoleon exclaims that they are all guilty, and begins to fight them all, jumping from bed to bed. In the clash, pillows are split and feathers fly through the air as the Minim Fathers work to restore order. They collar Napoleon and throw him outside in the snow. Napoleon cries to himself on the limber of a cannon, then he looks up to see the young eagle in a tree. He calls to the eagle which flies down to the cannon barrel. Napoleon caresses the eagle and smiles through his tears. The French Revolution[edit] In 1792, the great hall of the Club of the Cordeliers is filled with revolutionary zeal as hundreds of members wait for a meeting to begin. The leaders of the group, Georges Danton (Alexandre Koubitzky), Jean-Paul Marat (Antonin Artaud) and Maximilien Robespierre (Edmond Van Daële), are seen conferring.[5] Camille Desmoulins (Robert Vidalin), Danton's secretary, interrupts Danton to tell of a new song that has been printed, called "La Marseillaise".[8] A young army captain, Claude Joseph Rouget de Lisle (Harry Krimer) has written the words and brought the song to the club. Danton directs de Lisle to sing the song to the club. The sheet music is distributed and the club learns to sing the song, rising in fervor with each passage.[4] At the edge of the crowd, Napoleon (Albert Dieudonné), now a young army lieutenant, thanks de Lisle as he leaves: "Your hymn will save many a cannon." Splashed with water in a narrow Paris street, Napoleon is noticed by Joséphine de Beauharnais (Gina Manès) and Paul Barras (Max Maxudian) as they step from a carriage on their way into the house of Mademoiselle Lenormand (Carrie Carvalho), the fortune teller. Inside, Lenormand exclaims to Joséphine that she has the amazing fortune to be the future queen. On the night of 10 August 1792, Napoleon watches impassively as mob rule takes over Paris and a man is hung by revolutionaries. In front of the National Assembly, Danton tells the crowd that they have cracked the monarchy. Napoleon senses a purpose rising within him, to bring order to the chaos. The mob violence has tempered his character. Napoleon, on leave from the French Army, travels to Corsica with his sister, Élisa (Yvette Dieudonné). They are greeted by his mother, Letizia Buonaparte (Eugénie Buffet) and the rest of his family at their summer home in Les Milelli. The shepherd Santo-Ricci (Henri Baudin) interrupts the happy welcome to tell Napoleon the bad news that Corsica's president, Pasquale Paoli (Maurice Schutz), is planning to give the island to the British. Napoleon declares his intention to prevent this fate. Riding a horse and revisiting places of his childhood, Napoleon stops in Milelli gardens and considers whether to retreat and protect his family, or to advance into the political arena. Later in the streets of Ajaccio, Pozzo di Borgo (Acho Chakatouny) encourages a mob to put Napoleon to death for opposing Paoli, and the townsfolk surround the Buonaparte home. Napoleon stands outside the door and stares the crowd down, dispersing them silently. Paoli signs a death warrant, putting a price on Napoleon's head. Napoleon's brothers, Lucien (Sylvio Cavicchia) and Joseph (Georges Lampin), leave for Calvi to see if French authorities can intervene. Napoleon faces the danger alone, walking into an inn where men are arguing politics, all of whom would like to see him dead. He confronts the men and says, "Our fatherland is France ...with me!" His arguments subdue the crowd, but di Borgo enters the inn, accompanied by gendarmes. Napoleon evades capture and rides away on his horse, pursued by di Borgo and his men. Upstairs in the Ajaccio town hall, a council declares war on France even while the French flag flies outside the window. Napoleon climbs up the balcony and takes down the flag, shouting to the council, "It is too great for you!" The men fire their pistols at Napoleon but miss as he rides away. While chasing Napoleon, di Borgo stretches a rope across a road that Napoleon is likely to take. As expected, Napoleon rides toward the rope, but he draws his sabre and cuts it down. Napoleon continues at high speed to the shore where he finds a small boat. He abandons the horse and gets into the boat, discovering that it has no oars or sail. He unfurls the French flag from Ajaccio and uses it as a sail. He is drawn out into the open sea. Meanwhile, in Paris, meeting in the National Assembly, the majority Girondists are losing to the Montagnards: Robespierre, Danton, Marat and their followers. Robespierre calls for all Girondists to be indicted. (Napoleon's boat is tossed by increasing waves.) The Girondists seek to flee but are repulsed. (A storm throws Napoleon back and forth in his boat.) The assembly hall rolls with the struggle between Girondists and Montagnards. (Napoleon grimly bails water to prevent his violently rocking boat from sinking.) Later, in calm water, the small boat is seen by Lucien and Joseph Buonaparte aboard a French ship, Le Hasard. The larger ship is steered to rescue the unknown boat, and as it is pulled close, Napoleon is recognised, lying unconscious at the bottom, gripping the French flag. Waking, Napoleon directs the ship to a cove in Corsica where the Buonaparte family is rescued. The ship sails for France carrying a future queen, three future kings, and the future Emperor of France. The British warship HMS Agamemnon sights Le Hasard, and a young officer, Horatio Nelson (Olaf Fjord), asks his captain if he might be allowed to shoot at the enemy vessel and sink it. The captain denies the request, saying that the target is too unimportant to waste powder and shot. As Le Hasard sails away, an eagle flies to the Buonapartes and lands on the ship's flagpole. Act II[edit] Actor Albert Dieudonné played Napoleon In July 1793, fanatic Girondist Charlotte Corday (Marguerite Gance) visits Marat in his home and kills him with a knife. Two months later, General Jean François Carteaux (Léon Courtois), in control of a French army, is ineffectively besieging the port of Toulon, held by 20,000 English, Spanish and Italian troops. Captain Napoleon is assigned to the artillery section and is dismayed by the obvious lack of French discipline. He confronts Carteaux in an inn run by Tristan Fleuri, formerly the scullion of Brienne. Napoleon advises Carteaux how best to engage the artillery against Toulon, but Carteaux is dismissive. An enemy artillery shot hits the inn and scatters the officers. Napoleon stays to study a map of Toulon while Fleuri's young son Marcellin (Serge Freddy-Karl) mimes with Napoleon's hat and sword. Fleuri's beautiful daughter Violine Fleuri (Annabella) admires Napoleon silently. General Jacques François Dugommier (Alexandre Bernard) replaces Carteaux and asks Napoleon to join in war planning. Later, Napoleon sees a cannon being removed from a fortification and demands that it be returned. He fires a shot at the enemy and establishes the position as the "Battery of Men Without Fear". French soldiers rally around Napoleon with heightened spirits. Dugommier advances Napoleon to the position of commander-in-chief of the artillery. French troops under Napoleon prepare for a midnight attack. Veteran soldier Moustache (Henry Krauss) tells 7-year-old Marcellin, now a drummer boy, that the heroic drummer boy Joseph Agricol Viala was 13 when he was killed in battle. Marcellin takes courage; he expects to have six years of life left. Napoleon orders the attack forward amidst rain and high wind. A reversal causes Antoine Christophe Saliceti (Philippe Hériat) to name Napoleon's strategy a great crime. Consequently, Dugommier orders Napoleon to cease attacking, but Napoleon discusses the matter with Dugommier and the attack is carried forward successfully despite Saliceti's warnings. English cannon positions are taken in bloody hand-to-hand combat, lit by lightning flashes and whipped by rain. Because of the French advance, English Admiral Samuel Hood (W. Percy Day) orders the burning of the moored French fleet before French troops can recapture the ships. The next morning, Dugommier, seeking to promote Napoleon to the rank of brigadier general, finds him asleep, exhausted. An eagle beats its wings as it perches on a tree next to Napoleon. ('End of the First Epoch'.) Act III[edit] After being shamed in Toulon, Saliceti wants to put Napoleon on trial. Robespierre says he should be offered the command of Paris, but if he refuses, he will be tried. Robespierre, supported by Georges Couthon (Louis Vonelly) and Louis Antoine de Saint-Just (Abel Gance), condemns Danton to death. Saint-Just puts Joséphine into prison at Les Carmes where she is comforted by General Lazare Hoche (Pierre Batcheff). Fleuri, now a jailer, calls for "De Beauharnais" to be executed, and Joséphine's ex-husband, Alexandre de Beauharnais (Georges Cahuzac) rises to accept his fate. Elsewhere, Napoleon is also imprisoned for refusing to serve under Robespierre. He works out the possibility of building a canal to Suez as Saliceti taunts him for not trying to form a legal defence. In an archive room filled with the files of condemned prisoners, clerks Bonnet (Boris Fastovich-Kovanko [fr]) and La Bussière (Jean d'Yd) work secretly with Fleuri to destroy (by eating) some of the dossiers including those for Napoleon and Joséphine. Meanwhile, at the National Assembly, Violine with her little brother Marcellin, watches from the gallery. Voices are raised against Robespierre and Saint-Just. Jean-Lambert Tallien (Jean Gaudrey) threatens Robespierre with a knife. Violine decides not to shoot Saint-Just with a pistol she brought. Back at the archives, the prison clerks are given new dossiers on those to be executed by guillotine: Robespierre, Saint-Just and Couthon. Joséphine and Napoleon are released from their separate prisons. Napoleon declines the request by General Aubry [fr] to command infantry in the War in the Vendée under General Hoche, saying he would not fight Frenchman against Frenchman when 200,000 foreigners were threatening the country. He is given a minor map-making command as punishment for refusing the greater post. He draws up plans for an invasion of Italy. In Nice, General Schérer (Alexandre Mathillon) sees the plans and laughs at the foolhardy proposal. The plans are sent back, and Napoleon pastes them up to cover a broken window in the poor apartment he shares with Captain Marmont (Pierre de Canolle), Sergeant Junot (Jean Henry) and the actor Talma (Roger Blum). Napoleon and Junot see the contrast of cold, starving people outside of wealthy houses. Joséphine convinces Barras to suggest to the National Assembly that Napoleon is the best man to quell a royalist uprising. On 3 October 1795 Napoleon accepts and supplies 800 guns for defence. Directed by Napoleon, Major Joachim Murat (Genica Missirio) seizes a number of cannons to fight the royalists. Di Borgo shoots at Napoleon but misses; di Borgo is then wounded by Fleuri's accidental musket discharge. Saliceti is prevented from escaping in disguise. Napoleon sets Saliceti and di Borgo free. Joseph Fouché (Guy Favières) tells Joséphine that the noise of the fighting is Napoleon "entering history again". Napoleon is made General in Chief of the Army of the Interior to great celebration. A Victim's Ball is held at Les Carmes, formerly the prison where Joséphine was held. To amuse the attendees, Fleuri re-enacts the tragedy of the executioner's roll-call. The beauty of Joséphine is admired by Thérésa Tallien (Andrée Standard) and Madame Juliette Récamier (Suzy Vernon), and Napoleon is also fascinated. He plays chess with Hoche, beating him as Joséphine watches and entices Napoleon with her charms. The dancers at the ball become uninhibited; the young women begin to dance partially nude. French actress Gina Manès played Joséphine de Beauharnais, Napoleon's wife. In his army office, Napoleon tells 14-year-old Eugène de Beauharnais (Georges Hénin) that he can keep his executed father's sword. The next day, Joséphine arrives with Eugène to thank Napoleon for this kindness to her only son. The general staff officers wait for hours while Napoleon clumsily tries to convey his feelings for Joséphine. Later, Napoleon practises his amorous style under the guidance of his old friend Talma, the actor. Napoleon visits Joséphine daily. Violine is greatly hurt to see Napoleon's attentions directed away from herself. In trade for agreeing to marry Napoleon, Joséphine demands of Barras that he place Napoleon in charge of the French Army of Italy. Playing with Joséphine's children, Napoleon narrowly misses seeing Barras in her home. Joséphine hires Violine as a servant. Napoleon plans to invade Italy. He wishes to marry Joséphine as quickly as possible before he leaves. Hurried preparations go forward. On the wedding day, 9 March 1796, Napoleon is 2 hours late. He is found in his room planning the Italian campaign, and the wedding ceremony is rushed. That night, Violine and Joséphine both prepare for the wedding bed. Violine prays to a shrine of Napoleon. Joséphine and Napoleon embrace at the bed. In the next room, Violine kisses a shadowy figure of Napoleon that she has created from a doll. Act IV[edit] Just before leaving Paris, Napoleon enters the empty National Assembly hall at night, and sees the spirits of those who had set the Revolution in motion. The ghostly figures of Danton and Saint-Just speak to Napoleon, and demand answers from him regarding his plan for France. All the spirits sing "La Marseillaise". Only 48 hours after his wedding, Napoleon leaves Paris in a coach for Nice. He writes dispatches, and letters to Joséphine. Back in Paris, Joséphine and Violine pray at the little shrine to Napoleon. Napoleon speeds to Albenga on horseback to find the army officers resentful and the soldiers starving. He orders a review of the troops. The troops respond quickly to the commanding presence of Napoleon and bring themselves to perfect attention. Fleuri, now a soldier, tries and fails to get a hint of recognition from Napoleon. The Army of Italy is newly filled with fighting spirit. Napoleon encourages them for the coming campaign into Italy, the "honour, glory and riches" which will be theirs upon victory. The underfed and poorly armed force advances into Montenotte and takes the town. Further advances carry Napoleon to Montezemolo. As he gazes upon the Alps, visions appear to him of future armies, future battles, and the face of Joséphine. The French troops move forward triumphantly as the vision of an eagle fills their path, a vision of the blue, white and red French flag waving before them.

ORLANDO (Sally Potter, 1992)

The story begins in the Elizabethan era, shortly before the death of Queen Elizabeth I in 1603. On her deathbed, the queen promises an androgynous young nobleman named Orlando a large tract of land and a castle built on it, along with a generous monetary gift; both Orlando and his heirs would keep the land and inheritance forever, but Elizabeth will bequeath it to him only if he assents to an unusual command: "Do not fade. Do not wither. Do not grow old." Orlando acquiesces and reposes in splendid isolation in the castle for a couple of centuries during which time he dabbles in poetry and art. His attempts to befriend a celebrated poet backfire when the poet ridicules his verse. Orlando then travels to Constantinople as English ambassador to the Ottoman Empire, and is almost killed in a diplomatic fracas. Waking seven days later, he learns something startling: he has transformed into a woman. The now Lady Orlando comes home to her estate in Middle-Eastern attire, only to learn that she faces several impending lawsuits arguing that Orlando was a woman all along and therefore has no right to the land or any of the royal inheritance that the queen had promised. The succeeding two centuries tire Orlando; the court case, bad luck in love, and the wars of British history eventually bring the story to the present day (i.e., the early 1990s). Orlando now has a young daughter in tow and is in search of a publisher for her book. (The literary editor who judges the work as "quite good" is portrayed by Heathcote Williams—the same actor who played the poet who had, earlier in the film, denigrated Orlando's poetry.) Having lived a most bizarre existence, Orlando, relaxing with her daughter, points out to her an angel. Differences from the novel[edit] Director Potter described her approach to the adaptation as follows: My task...was to find a way of remaining true to the spirit of the book and to Virginia Woolf's intentions, whilst being ruthless with changing the book in any way necessary to make it work cinematically...The most immediate changes were structural. The storyline was simplified [and] any events which did not significantly further Orlando's story were dropped.[1]: 14 The film contains some anachronisms not present in the novel. For example, upon Orlando's arrival in Constantinople in about the year 1700, England is referred to as a "green and pleasant land", a line from William Blake's Jerusalem, which in reality was not written until 1804.[8] Potter argued that "whereas the novel could withstand abstraction and arbitrariness (such as Orlando's change of sex), cinema is more pragmatic."[1]: 14 She continued, There had to be reasons—however flimsy—to propel us along a journey based itself on a kind of suspension of disbelief. Thus, Queen Elizabeth bestows Orlando's long life upon him...whereas in the book it remains unexplained. And Orlando's change of sex in the film is the result of his having reached a crisis point—a crisis of masculine identity.[1]: 14-15 At film's end, Orlando has a daughter, whereas in the novel she had a son.[1]: 15 Potter said that she intended Orlando's breaking the fourth wall to be an equivalent to Woolf's direct addresses to her readers,[a] and that this was her attempt at converting Woolf's literary wit into a more 'cinematic' humour.[1]: 15 One obvious similarity remained, however: The film ends in its present day, 1992,[1]: 15 [b] just as Woolf's novel ends in its present day, 1928.[9]

A CANTERBURY TALE (Michael Powell & Emeric Pressburger, 1944)

The story concerns three young people: British Army Sergeant Peter Gibbs (Dennis Price), U.S. Army Sergeant Bob Johnson (played by real-life Sergeant John Sweet), and a "Land Girl", Miss Alison Smith (Sheila Sim). The group arrive at the railway station in the fictitious small Kent town of Chillingbourne (filmed in Chilham, Fordwich, Wickhambreaux and other villages in the area), near Canterbury, late on Friday night, 27 August 1943. Peter has been stationed at a nearby Army camp, Alison is due to start working on a farm in the area, and Bob left the train by mistake, hearing the announcement "next stop Canterbury" and thinking he was in Canterbury. As they leave the station together Alison is attacked by an assailant in uniform, who pours glue on her hair before escaping. It transpires that this has happened to other women, and the mystery attacker is known locally as "the glue man". Alison asks Bob if he will spend the weekend in Chillingbourne to help her solve the mystery. The next day, while riding a farm cart in the countryside, Alison meets Peter, who surrounds her cart with his platoon of three Bren Gun Carriers. Alison agrees to meet Peter again. The three decide to investigate the attack, enlisting the help of the locals, including several small boys who play large-scale war games. The three use their detective skills to identify the culprit as a local magistrate, Thomas Colpeper (Eric Portman), a gentleman farmer and pillar of the community, who also gives local history lectures to soldiers stationed in the district. Alison interviews all the glue man's victims to identify the dates and times of their attacks. Gibbs visits Colpeper at his home and steals the fire watch roster listing the nights Colpeper was on duty in the town hall, whilst a paper drive for salvage by Johnson's boy commandos lets Johnson discover receipts for gum used to make glue sold to Colpeper. The dates of the attacks correspond with Colpeper's night watches, for which he wore a Home Guard uniform kept in the town hall. On their train journey to Canterbury on the Monday morning, Colpeper joins the three in their compartment. They confront him with their suspicions, which he does not deny, and they discover that his motive is to prevent the soldiers from being distracted from his lectures by female company, as well as to help keep the local women faithful to their absent British boyfriends. In Colpeper's words, Chaucer's pilgrims travelled to Canterbury to "receive a blessing or to do penance". On arriving in the city of Canterbury, devastated by wartime bombing, all three young people receive blessings of their own. Alison discovers that her boyfriend, believed killed in the war, has survived after all; his father, who had blocked their marriage because he thought his son could do better than a shopgirl, finally relents. Bob receives long-delayed letters from his sweetheart, who is now a WAC in Australia. Peter, a cinema organist before the war, gets to play the music of Johann Sebastian Bach on the large organ at Canterbury Cathedral, before leaving with his unit. He decides not to report Colpeper to the Canterbury police, as he had planned to do.

CRIMES AND MISDEMEANORS (Woody Allen, 1989)

The story follows two main characters: Judah Rosenthal, a successful and reputable ophthalmologist, and Clifford Stern, a small-time documentary filmmaker. Judah, an upper-class respected family man, is having an affair with flight attendant Dolores Paley. After it becomes clear to her that Judah will not end his marriage, Dolores threatens to disclose the affair to Judah's wife, Miriam. She is also aware of some questionable financial deals Judah made before becoming a wealthy ophthalmologist, which adds to his stress. He confides in a patient, Ben, a rabbi who is rapidly losing his eyesight. Ben advises openness and honesty between Judah and his wife, but Judah does not wish to imperil his marriage. Desperate, Judah turns to his brother, Jack, a gangster, who hires a hitman to kill Dolores. Before her corpse is discovered, Judah retrieves letters and other items from her apartment in order to cover his tracks. Stricken with guilt, Judah turns to the religious teachings he had rejected, believing for the first time that a just God is watching him and passing judgment. Cliff, meanwhile, has been hired by his pompous brother-in-law, Lester, a successful television producer, to make a documentary celebrating Lester's life and work. Cliff grows to despise him. While filming and mocking the subject, Cliff falls in love with Lester's associate producer, Halley Reed. Despondent over his failing marriage to Lester's sister Wendy, he woos Halley, showing her footage from his ongoing documentary about Professor Louis Levy, a renowned philosopher. He ensures Halley is aware that he is shooting Lester's documentary merely for the money so he can finish his more meaningful project with Levy. Cliff learns that Professor Levy, whom he had been profiling for a documentary centered on his philosophical views and the strength of his celebration of life, has committed suicide, leaving a curt note that only says: "I've gone out the window". When Halley visits to comfort him, he makes a pass at her, which she gently rebuffs, telling him she is not ready for another romance. Cliff's dislike for Lester becomes evident during the first screening of the film. Cliff has maliciously edited the film, which juxtaposes footage of Lester with clownish poses of Benito Mussolini addressing a throng of supporters from a balcony. It also shows Lester yelling at his employees and clumsily making a pass at an attractive young actress. Lester fires him. Adding to Cliff's burdens, Halley leaves for London, where Lester is offering her a producing job; when she returns several months later, Cliff is astounded to discover that she and Lester are engaged. Hearing that Lester sent Halley white roses "round the clock, for days" while they were in London, Cliff is crestfallen as Halley falling for Lester is his "worst fear realized."[3] His last romantic gesture to Halley had been a love letter which he had mostly plagiarized from James Joyce including references to Dublin. Judah and Cliff meet by happenstance at the wedding of the daughter of Rabbi Ben, who is Cliff's brother-in-law and Judah's patient. Judah has worked through his guilt and is enjoying life once more; the murder had been blamed on a drifter with a criminal record. He draws Cliff into a supposedly hypothetical discussion that draws upon his moral quandary. Judah says that with time, any crisis will pass; but Cliff morosely claims that "very few guys could live with that on their conscience.".[3] Judah cheerfully leaves the wedding party with his wife, and Cliff is left sitting alone, dejected. The wedding party continues. Rabbi Ben, who is now blind, shares a dance with his daughter while the voice of Professor Levy is heard, saying that the universe is a dark and indifferent place which human beings fill with love, in the hope that "future generations will understand more."[3]

TRISTANA (Luis Buñuel, 1970)

The story is set in the late 1920s to early 1930s in the city of Toledo. Tristana is a young woman who, following the death of her mother, becomes a ward of notorious nobleman don Lope Garrido. Despite his advancing age, Don Lope refuses to change his playboy lifestyle, while maintaining strong yet increasingly-antiquated attitudes about honor, chivalry, and women. Claiming to defend the weak from corrupt institutions (while expressing support for leftist politics), Don Lope nonetheless preys on his new ward, entranced by her beauty and innocence. He thus treats her as wife as well as daughter from the age of 19, unbeknownst to the outside world. While Tristana initially accepts the arrangement, by age 21 she starts finding her voice, to demand to study music, art and other subjects with which she wishes to become independent, chafing under Don Lope, who thinks women are untrustworthy and should be kept at home. While sneaking out of the house against Lope's wishes, she meets Horacio, a young artist from Catalonia. The two fall in love and Horacio asks her to come live with him in Barcelona, but she remains apprehensive because of the Don's inescapable presence. Horacio confronts Don Lope outside his apartment, Lope slaps him and challenges him to a duel, and Hoarcio responds by simply punching him in the face. He and Tristana leave the following day. Five years later, Tristana returns, having suddenly fallen ill. She demands to be remanded to Don Lope's house so she can die there. Tristana survives but loses a leg in the process, which changes her prospects. She breaks up with Horacio and seemingly reinstates the previous relationship with Don Lope, but is now much more independent and openly defiant. Don Lope, whose health problems have only worsened, suddenly inherits money from his sister, which Tristana covets. She agrees to have a marriage of convenience with Lope in order to, as a local priest describes, "correct a previously sinful situation," but makes it clear she has no desire for a romantic or sexual relationship, taking up the housemaid's deaf-mute son Saturno as a lover. One night, Lope suffers a heart attack in bed. Tristana pretends to get help until he's fallen unconscious, and finishes him off by opening the window to the winter cold. The film ends with a montage of scenes playing back in reverse, ending at the moment Don Lope first seduced Tristana.

TERRA EM TRANSE (Glauber Rocha, 1967)

The story is told in flashback by a writer who explains how he got into his present situation. He had been supporting a conservative party leader, but then decided to support the liberal candidate. The liberal wins the election, but soon reneges upon his campaign promises. The disillusioned writer decides to stay out of politics and resume his writing. Unfortunately, his girlfriend convinces him to try to talk the country's leader into pursuing a particular direction. The writer is soon shot. In the Republic of Eldorado, Paulo Martins is an idealist journalist and poet linked to the rising conservative politician and technocrat Porfírio Diaz and his mistress, Sílvia, with whom they form a love triangle. When Diaz is elected senator, Paulo moves away and goes to the province of Alecrim, where he associates with the activist Sara. Together they resolve to support the populist alderman Felipe Vieira for governor in an attempt to launch a new, supposedly progressive political leader who will guide the change of the situation of misery and injustice that plagues the country. After winning the election, Vieira appears weak and controlled by the local economic forces that financed him and does little to change the social situation, which leads Paulo, disillusioned, to leave Sara and return to the capital and meet Sílvia again. He approaches Júlio Fuentes, the country's biggest businessman, and tells him that President Fernandez has the economic support of a powerful multinational, EXPLINT (Company of International Exploitation), that wants to take control of the capital. When Diaz goes to the presidential race with the support of Fernandez, Fuentes' television channel supports Paulo, who uses it in order to attack Diaz. Vieira and Paulo join the presidential campaign again until Fuentes betrays them both and makes an agreement with Diaz. Paul wants to start the armed struggle, but Vieira gives up.

DOGVILLE (Lars von Trier, 2003)

The story of Dogville is told in nine chapters and a prologue, with a one-sentence description of each chapter given in the film, in the vein of such chapter headings in many 19th-century novels. These descriptions are given below. Prologue[edit] Which introduces us to the town and its residents Dogville is a very small American town by an abandoned silver mine in the Rocky Mountains, with a road leading up to it and nowhere else to go but the mountains. The film begins with a prologue in which a dozen or so of the fifteen citizens are introduced. They are portrayed as lovable, good people with small flaws which are easy to forgive. The town is seen from the point of view of Tom Edison Jr., an aspiring writer and philosopher who procrastinates by trying to get his fellow citizens together for regular meetings on the subject of "moral rearmament". It is clear that Tom wants to succeed his aging father, a physician, as the moral and spiritual leader of the town. Chapter 1[edit] In which Tom hears gunfire and meets Grace It is Tom who first meets Grace Mulligan, who is on the run from gangsters who presumably shot at her. Grace wishes to keep running, but Tom assures her that the mountains ahead are too difficult to pass. As they talk, the gangsters approach the town, and Tom quickly hides Grace in the nearby mine. One of the gangsters asks Tom if he has seen the woman, which he denies. The gangster then offers him a reward and hands him a card with a phone number to call in case Grace shows up. Tom decides to use Grace as an "illustration" in his next meeting—a way for the townspeople to prove that they are indeed committed to community values, can receive a gift, and are willing to help the stranger. They remain skeptical, so Tom proposes that Grace should be given a chance to prove that she is a good person. Grace is accepted for two weeks in which, as Tom explains to her after the meeting, she must gain the friendship and trust of the townspeople. Chapter 2[edit] In which Grace follows Tom's plan and embarks upon physical labor On Tom's suggestion, Grace offers to do chores for the citizens—talking to the lonely, blind Jack McKay, helping to run the small shop, looking after the children of Chuck and Vera, and so forth. After some initial reluctance, the people accept her help in doing those chores that "nobody really needs" but which nevertheless make their lives easier. As a result, she becomes an accepted part of the community. Chapter 3[edit] In which Grace indulges in a shady piece of provocation In tacit agreement Grace is expected to continue her chores, which she does gladly, and is even paid small wages which she saves up to purchase a set of seven expensive porcelain figurines, one at a time, from Ma Ginger's shop. Grace begins to make friends, including Jack, who pretends that he is not blind. She earns his respect upon tricking him into admitting that he is blind. Once the two weeks are over, everyone votes at the town meeting that Grace should be allowed to stay. Chapter 4[edit] Happy times in Dogville Things go well in Dogville until the police arrive to place a "Missing" poster featuring Grace's picture and name on the mission house. With the townspeople divided as to whether they should cooperate with the police, the mood of the community darkens somewhat. Chapter 5[edit] Fourth of July after all Still, things continue as usual until the 4th of July celebrations. After Tom awkwardly admits his love to Grace which she reciprocates and the whole town expresses their agreement that it has become a better place thanks to her, the police arrive again to replace the "Missing" poster with a "Wanted" poster. Grace is now wanted for participation in a bank robbery. Everyone agrees that she must be innocent, since at the time the robbery took place, she was doing chores for the townspeople every day. Nevertheless, Tom argues that because of the increased risk to the town now that they are harboring someone who is wanted as a criminal, Grace should provide a quid pro quo and do more chores for the townspeople within the same time, for less pay. At this point, what was previously a voluntary arrangement takes on a slightly coercive nature as Grace is clearly uncomfortable with the idea. Still, being very amenable and wanting to please Tom, Grace agrees. Chapter 6[edit] In which Dogville bares its teeth At this point the situation worsens, as with her additional workload, Grace inevitably makes mistakes, and the people she works for seem to be equally irritated by the new schedule—and take it out on Grace. The situation slowly escalates, with the male citizens making small advances to Grace and the females becoming increasingly critical and abusive. Even the children are perverse: Jason, the 10-year-old son of Chuck and Vera, asks Grace to spank him, until she finally complies after much provocation (von Trier has noted that this is the first point in the film where it is clear how completely Grace's lack of social status and choices makes her vulnerable to other people manipulating her).[12] The hostility towards Grace finally reaches a turning point as well when Chuck rapes her in his home. Chapter 7[edit] In which Grace finally gets enough of Dogville, leaves the town, and again sees the light of day That evening, Grace tells Tom what happened and he starts to form a plan for her escape. The next day, Vera confronts Grace for spanking her son Jason and Liz informs her that a few people saw Tom leave her shack very late the night before, casting suspicions on her virtue. The next evening, she is confronted again by Vera, Liz and Martha in her shack. Martha witnessed a sexual encounter between Chuck and her in the apple orchard. Vera blames her for seducing her husband and decides to punish Grace by destroying the figurines. Grace begs her to spare them and tries to remind Vera of all the good things she has done for her including teaching her children the philosophy of stoicism. Vera cruelly uses it against her while destroying the figurines she worked hard for, claiming that she will stop smashing them if Grace refrains from crying. Grace goes to Tom that evening and they decide to bribe the freight truck driver Ben to smuggle her out of town in his truck. En route, she is raped by Ben, after which he returns Grace to Dogville. The town agrees that they must not let her escape again. The money paid to Ben to help Grace escape had been stolen by Tom from his father—but when Grace is blamed for the theft, Tom refuses to admit he did it because, as he explains, this is the only way he can still protect Grace without people getting suspicious. So, Grace finally becomes a slave: she is chained, repeatedly raped, and abused by the people of the town. She is also humiliated by the children who ring the church bell every time she is violated, much to Tom's disgust. Chapter 8[edit] In which there is a meeting where the truth is told and Tom leaves (only to return later) This culminates in a late-night general assembly in which Grace—following Tom's suggestion—relates calmly all that she has endured from everyone in town, then heads back to her shack. Embarrassed and in complete denial, the townspeople finally decide to turn her over to the mobsters—assuming that Grace will be executed. As Tom tells Grace this, declaring his allegiance to her over the town, he attempts to make love to her. Still chained, she responds to his advances by saying "it would be so beautiful, but from the point of view of our love so completely wrong. We were to meet in freedom."[13] She questions if thoughts of using force against her are in fact why he is so upset, noting that he could have her if he wants—all he needs to do is threaten her to get his way, as the others have done. Tom defends his intentions as pure, but upon reflection realizes that what she says is true. Shaken by self-doubt, he decides it would jeopardize his career as a philosopher if this doubt were allowed to grow. To rid himself of its source, he decides to personally call the mobsters and turn Grace over. Chapter 9 and ending[edit] In which Dogville receives the long-awaited visit and the film ends When the mobsters finally arrive, they are welcomed cordially by Tom and an impromptu committee of other townspeople. Grace is then freed by the indignant henchmen, and her true identity is revealed: she is the daughter of a powerful gang leader who ran away because she could not stand his dirty work. Her father motions her into his Cadillac and argues with her about issues of morality. After some introspection, Grace reverses herself and comes to the conclusion that Dogville's crimes cannot be excused due to the difficulty of their circumstances. Tom, who has become aware that the mobsters pose a threat to himself and the town, is momentarily remorseful, but rapidly descends into rationalization for his actions. Grace sadly returns to her father's car, accepts his power, and uses it to command that Dogville be removed from the earth. Grace tells the gangsters to make Vera watch her children die, one by one, as punishment for destroying her figurines. She instructs them only to stop killing the children if Vera can refrain from crying, stating that she "owes her that". Dogville is burned to the ground and all of its inhabitants brutally massacred with the exception of Tom, whom she executes personally with a revolver right after he applauds the effectiveness of her use of illustration as an attempt to get her to spare him. After the massacre, the gangsters hear a barking sound from one of the houses. It is the dog Moses. A gangster aims a gun at the dog, but Grace commands that he should live: "He's just angry because I once took his bone." The chalk drawing of Moses becomes a real dog as his barks lead into the credits.

THE LIFE OF OHARU (Kenji Mizoguchi, 1952)

The story opens on Oharu as an old woman in a temple flashing back through the events of her life. It begins with her love affair with a page, Katsunosuke, the result of which (due to their class difference) is his execution and her family's banishment. Oharu attempts suicide but fails and is sold to be the mistress of Lord Matsudaira with the hope she will bear him a son. She does, but then is sent home with minimal compensation to the dismay of her father, who has worked up quite a debt in the meantime. He sends her to be a courtesan, but there, too, she fails and is again sent home. Oharu goes to serve the family of a woman who must hide the fact that she is bald from her husband. The woman becomes jealous of Oharu and makes her chop off her hair, but Oharu retaliates, revealing the woman's secret. She again must leave—this time she marries a fan maker who is killed shortly after during a robbery. She attempts to become a nun, but Oharu is thrown out after being caught naked with a man seeking reimbursement for an unauthorized gift (it is made clear this is rape by Oharu's claims and distraught demeanor). She is thrown out of the temple, becomes a prostitute, but fails even at that. In the end, she is recalled to the Lord's house to be exiled within the compounds to keep her secrets locked away. While being scolded for the life she chose, she attempts to find her son, and in the process, ends up running away as she chooses the life of a wandering nun over the life in exile.

TALK TO HER (Pedro Almodóvar, 2002)

The story unfolds in flashbacks, giving details of two separate relationships that become intertwined. At a performance of Café Müller, a dance-theatre piece by Pina Bausch, Benigno Martín and Marco Zuluaga are seated next to each other. They are strangers, but Benigno notices the tears on Marco's face at one point during the performance. Marco is a journalist and travel writer who sees a TV interview with Lydia González, a famous matador. He thinks that an article about her would be interesting and contacts her in a bar, where she asks him to take her home. The news that she has broken up with her boyfriend "el Niño de Valencia", another matador, has been all over the tabloids. When Marco confesses that he is a journalist who knows nothing about bullfighting, she becomes angry and abruptly exits his car outside her house. He starts to drive off but stops when he hears a scream from inside her house. Lydia rushes out and gets into his car. Marco goes inside to kill the snake, an act that leaves him weeping. Having shared some vulnerability, they become friends and, later on, lovers. Marco attends a wedding and is surprised to see Lydia there, since she had said that she did not want to go. The wedding is that of Marco's former fiancée, Ángela, who had the same phobia of snakes as Lydia; Marco had been very much in love with Ángela and had difficulty getting over her, which was why he wept over things he could not share with her. Lydia says that she has something important to say, but she prefers to wait until after the bullfight that afternoon, during which she is gored and becomes comatose. Marco remains by her side at the hospital and befriends Benigno, who recognizes him from the theatre performance. A doctor tells Marco that, while there are miracle stories of people who have come out of comas, there is no reason for him to remain hopeful about Lydia. Benigno is obsessed with Alicia Roncero, a beautiful dancer whom he watches practicing in the studio that he can see into from the apartment where he lives with his invalid mother. To care for her, he became a nurse and a beautician. After his mother dies, he finds the courage to talk to Alicia when she drops her wallet on the street. As they walk to her house, she talks about dancing and her enjoyment of silent black and white films. When she enters her building, Benigno notices that it is also the office of Dr. Roncero, a psychiatrist. As a ruse to gain access to Alicia's apartment, Benigno makes an appointment to see the doctor. In response to the doctor's questions, Benigno talks about the years he cared for his mother and says that he is lonely and a virgin. Afterward, a shocked Alicia sees him leaving her room, from which he has taken a hair clip. That night she is struck by a car and becomes comatose. In the hospital, where Benigno is assigned to care for Alicia, he talks to her as if she were awake and brings her dancing and silent film mementos. He tells Marco that he should talk to Lydia because, even when in a coma, women understand men's problems. In response to Dr. Roncero's questioning, Benigno says that he is gay, presumably so that the doctor will not be suspicious of his intimate care of Alicia. "El Niño de Valencia", whom Marco finds in Lydia's room one day, tells Marco that Lydia and he had reconciled, that before the goring incident she intended to tell Marco that. He also says that, now that he has recovered from his own injuries, he should be the one attending to Lydia. Marco goes into Alicia's room and starts opening his heart to her. When Benigno appears, he tells Marco that he always thought Marco and Lydia would separate. A nurse expresses concern that Alicia has not had a period in two months and appears bloated. In the hospital parking lot, Benigno tells Marco of his desire to marry Alicia. Marco is taken aback, pointing out that Alicia cannot express her will in any way. Benigno remains unpersuaded. The hospital staff discover that Alicia is pregnant because she was raped. Further investigation reveals that her chart does not indicate her missed period. Benigno admits to falsifying the chart and claims that he did this so as not to alarm anyone, as other comatose patients have also missed their periods. Another orderly reports having overheard Benigno's conversation with Marco about wanting to marry Alicia. Unaware of Alicia's pregnancy, Marco leaves for Jordan to write a travel book. Months later, he reads in a newspaper that Lydia has died without awakening from her coma. When he calls the hospital to talk to Benigno, a nurse tells him that Benigno is in prison for Alicia's rape and urges him to return for Benigno's sake because "he has no one." Benigno, who has been denied information about Alicia since his imprisonment, asks Marco to find out what has happened to her. Marco stays in Benigno's apartment, from which he sees Alicia in the dance studio doing rehab exercises with her teacher, Katrina. From Benigno's lawyer, Marco learns that Alicia had a stillborn baby. The lawyer urges him not to tell Benigno about the baby or Alicia's recovery. Marco, who adheres to this request, receives a voicemail from Benigno saying that he cannot live without Alicia and has decided to "take off." Marco rushes to the prison, where Benigno has left him a farewell letter. Benigno had written that he hopes to take only enough pills to leave him in a comatose state in which he can join Alicia. He asks Marco to talk to him and tell him everything. Marco visits Benigno's grave and tells him about the stillbirth and Alicia's recovery. The film ends in the theatre where it began, with Alicia and Katrina sitting a few rows behind Marco at the dance performance. During intermission, Alicia asks a distraught-looking Marco if he is alright. When the performance continues, Marco is seen turning back to look at a smiling Alicia and, echoing a caption that had appeared for the couples "Marco y Lydia" and "Benigno y Alicia," the words "Marco y Alicia" appear on the screen.

GERMANY, YEAR ZERO (Roberto Rossellini, 1948)

Twelve-year-old Edmund Köhler lives in devastated, Allied-occupied Berlin with his ailing, bedridden father and his adult siblings, Eva and Karl-Heinz. Eva manages to obtain cigarettes by going out with soldiers of the Allied forces, but she resists others' expectations to prostitute herself. Karl-Heinz is the older son who fought in the war and is a burden to the struggling family, refusing to register with the police and get a ration card because he is afraid of what would happen if they found out he fought to the bitter end. The Köhlers and others have been assigned to the apartment home of the Rademachers by the housing authority, much to Mr. Rademacher's irritation. Edmund does what he can for his family, trying to find work and selling a scale for Mr. Rademacher on the black market. By chance, Edmund meets Herr Henning, his former school teacher, who still remains a Nazi at heart. Henning gives him a recording of Hitler to sell to the occupying soldiers, entrusting him to the more experienced Jo and Christl. Henning gives Edmund 10 marks for his work. Afterward, Edmund tags along as the young man Jo steals 40 marks from a woman by pretending to sell her a bar of soap. Jo gives Edmund some of his stolen potatoes and leaves the inexperienced boy with Christl, whom another member of their gang describes as a mattress that dispenses cigarettes. After Mr. Köhler takes a turn for the worse, Henning tells Edmund that life is cruel and that the weak should be sacrificed so that the strong can survive. A kindly doctor manages to get Mr. Köhler admitted to a hospital, where he receives much more plentiful and healthy food. This temporarily relieves some of the pressure on his family. When Edmund goes to see his father, the old man bemoans his misery. He tells his son that he has considered suicide but lacks the courage to carry it out. He says that he is a burden and that it would be better if he were dead. Edmund steals some poison while no one is looking. A few days later, the father is discharged and returns home. Edmund poisons his tea just before police raid the apartment and Karl-Heinz finally turns himself in. The father dies while his elder son is in custody. Everyone assumes the death is due to malnutrition and sickness. When Karl-Heinz returns, he is crushed by the news. A disturbed Edmund wanders the city. He turns first to Christl, but she is busy with young men and has no time for or interest in a youngster. He goes to Henning and confesses that he did as the schoolteacher had suggested, murdering his father, but Henning protests that he never told the boy to kill anyone. When Edmund tries to join younger children in a street game of soccer, they reject him. He ascends the ruins of a bombed out building, and watches from a hole in the wall as they take his father's coffin away across the street. Finally, after hearing his sister call for him, he jumps from the building to his death.

ROPE (Alfred Hitchcock, 1948)

Two brilliant young aesthetes, Brandon Shaw and Phillip Morgan, strangle to death their former classmate from prep school, David Kentley, in their Manhattan penthouse apartment. They commit the crime as an intellectual exercise: they want to prove their superiority by committing the "perfect murder". After hiding the body in a large antique wooden chest, Brandon and Phillip host a dinner party at the apartment, which has a panoramic view of Manhattan's skyline. The guests, who are unaware of what has happened, include the victim's father, Mr. Kentley, and aunt, Mrs. Atwater; his mother is unable to attend because of a cold. Also present are David's fiancée, Janet Walker, and her former lover, Kenneth Lawrence, who was once David's close friend. James Stewart, the actor who plays Rupert Cadell in the film Brandon uses the chest containing the body as a buffet table for the food, just before their housekeeper, Mrs. Wilson, arrives to help with the party. Brandon and Phillip's idea for the murder was inspired years earlier by conversations with their prep-school housemaster, publisher Rupert Cadell. While they were at school, Rupert had discussed with them, in an apparently approving way, the intellectual concepts of Nietzsche's Superman, as a means of showing one's superiority over others. He, too, is among the guests at the party since Brandon, in particular, thinks that he would approve of their "work of art." Brandon's subtle hints about David's absence indirectly lead to a discussion on the "art of murder." Brandon appears calm and in control, although when he first speaks to Rupert, he is nervously excited and stammering. Phillip, on the other hand, is visibly upset and morose. He does not conceal it well and starts to drink too much. When David's aunt, Mrs. Atwater, who fancies herself a fortune-teller, tells Phillip that his hands will bring him great fame, she refers to his skill at the piano, but he appears to think this refers to the notoriety of being a strangler. However, much of the conversation focuses on David and his strange absence, which worries the guests. A suspicious Rupert quizzes a fidgety Phillip about this and some of the inconsistencies raised in conversation. For example, Phillip vehemently denies ever strangling a chicken at the Shaws' farm, although Rupert has seen Phillip strangle several. Phillip later complains to Brandon about having had a "rotten evening," not because of David's murder, but because of Rupert's questioning. As the evening goes on, David's father and fiancée begin to worry because he has neither arrived nor phoned. Brandon increases the tension by playing matchmaker between Janet and Kenneth. Mrs. Kentley calls, overwrought because she has not heard from David, and Mr. Kentley decides to leave. He takes with him some books Brandon has given him, tied together with the rope Brandon and Phillip used to strangle his son. When Rupert leaves, Mrs. Wilson accidentally hands him David's monogrammed hat, further arousing his suspicion. Rupert returns to the apartment a short while after everyone else has departed, pretending that he has left his cigarette case behind. He asks for a drink and then stays to theorize about David's disappearance. He is encouraged by Brandon, who hopes Rupert will understand and even applaud them. A drunk Phillip, unable to bear it anymore, throws a glass and accuses Rupert of playing cat-and-mouse games with him and Brandon. Rupert seizes Brandon's gun from Phillip and insists on examining the chest over Brandon's objections. He lifts the lid of the chest and finds the body inside. He is horrified and ashamed, realizing that Brandon and Phillip used his own rhetoric to rationalize murder. Rupert disavows all his previous talk of superiority and inferiority and fires several shots out the window to attract attention. As the police arrive, Rupert sits on a chair next to the chest, Phillip begins to play the piano, and Brandon continues to drink.

THE TERMINATOR (James Cameron, 1984)

Two men arrive separately in 1984 Los Angeles, having time traveled from 2029. One is a cybernetic assassin known as a Terminator, programmed to hunt and kill a woman named Sarah Connor. The other is a human soldier named Kyle Reese, intent on stopping it. They both steal guns and clothing. The Terminator systematically kills women bearing its target's name, having found their addresses in a telephone directory. It tracks the last Sarah Connor, its actual target, to a nightclub, but Reese rescues her. The pair steal a car and escape, with the Terminator pursuing them in a stolen police car. As they hide in a parking lot, Reese explains to Sarah that an artificially intelligent defense network known as Skynet, created by Cyberdyne Systems, will become self-aware in the near future and trigger a global nuclear war to exterminate the human species. Sarah's future son John will rally the survivors and lead a successful resistance movement against Skynet and its army of machines. On the verge of the resistance's victory, Skynet sent the Terminator back in time to kill Sarah and prevent John from being born. The Terminator is an efficient and relentless killing machine with perfect voice-mimicking ability and a robust metal endoskeleton covered by living tissue that disguises it as a human. Police apprehend Reese and Sarah after another encounter with the Terminator. The Terminator attacks the police station, killing police officers while hunting for Sarah. Reese and Sarah escape, steal another car, and take refuge in a motel, where they assemble pipe bombs and plan their next move. Reese admits that he has adored Sarah since he saw her in a photograph John gave him and that he traveled through time out of love for her. Reciprocating his feelings, Sarah kisses him, and they have sex, conceiving John. The Terminator locates Sarah by intercepting a call intended for her mother. She and Reese escape the motel in a pickup truck while it pursues them on a motorcycle. In the ensuing chase, Reese is wounded by gunfire while throwing pipe bombs at the Terminator. Sarah knocks the Terminator off its motorcycle but loses control of the truck, which flips over. The Terminator, now bloodied and badly damaged, hijacks a tank truck and attempts to run down Sarah, but Reese slides a pipe bomb into the tanker's hose tube, causing an explosion that burns the flesh from the Terminator's endoskeleton. It pursues them into a factory, where Reese activates machinery to confuse it. He jams his final pipe bomb into its midsection, blowing it apart at the cost of his life. Its still-functional torso grabs Sarah, but she breaks free and lures it into a hydraulic press, crushing and finally destroying it. Months later, Sarah, pregnant with John, travels through Mexico, recording audio tapes to pass on to him. At a gas station, a boy takes a polaroid of her, and she buys it. It is the exact photograph that John will one day give to Reese.

DO THE RIGHT THING (Spike Lee, 1989)

Twenty-five-year-old Mookie lives in Bedford-Stuyvesant with his sister Jade, has a toddler son named Hector with his girlfriend Tina, and works as a delivery man at a local pizzeria that has been owned and operated for 25 years by Sal, an Italian-American who lives in Bensonhurst. Sal's racist eldest son Pino is antagonistic towards Mookie, clashing with both his father, who refuses to move his business out of the majority African-American neighborhood, and his younger brother Vito, who is friendly with Mookie. Many distinctive residents are introduced, including friendly drunk Da Mayor; Mother Sister, who watches the neighborhood from her brownstone; Radio Raheem, who blasts Public Enemy's "Fight the Power" on his boombox wherever he goes; and Smiley, a mentally disabled man who meanders around the neighborhood trying to sell hand-colored pictures of Malcolm X and Martin Luther King Jr. At Sal's, Mookie's friend Buggin' Out questions Sal about his "Wall of Fame", decorated with photos of famous Italian-Americans, and demands that Sal put up pictures of Black celebrities since the pizzeria is in a Black neighborhood. Sal replies that it is his business, and that he can have whoever he wants on the wall. Buggin' Out attempts to start boycotting the pizzeria. During the day, local teenagers open a fire hydrant and douse the other neighbors to beat the heat wave before officers Mark Ponte and Gary Long intervene. After a phone call, Mookie and Pino debate race. Mookie confronts Pino about his contempt towards African-Americans, although Pino's favorite celebrities are Black. Various characters express racial insults: Mookie against Italians, Pino against African-Americans, Latino Stevie against Koreans, White officer Gary Long against Puerto Ricans, and Korean store owner Sonny against Jews. Pino expresses his hatred for African-Americans to Sal, who insists on staying in the neighborhood. Radio Raheem's boombox as seen in "Do the Right Thing". Image courtesy of Smithsonian National Museum of African American History and Culture. That night, Buggin' Out, Radio Raheem, and Smiley march into Sal's and demand that Sal change the Wall of Fame. Sal demands that Radio Raheem turn his boombox off, but he refuses. Buggin' Out calls Sal and his sons "Guinea bastards" and threatens to shutter the pizzeria until they change the Wall of Fame. An angered Sal calls Buggin' Out a "******" and destroys Raheem's boombox with a bat. Raheem attacks Sal, igniting a fight that spills out into the street and attracts a crowd. While Raheem is strangling Sal, the police arrive, including Officer Long and Ponte from earlier in the movie, who break up the fight, and apprehend Raheem and Buggin' Out. As the officers attempt to restrain an enraged Raheem, suddenly Long throws Raheem in a chokehold with his nightstick. Despite the pleas of his partner Ponte and onlookers to stop, Long instead tightens his chokehold on Raheem, killing him. Realizing their error, the officers place his body in the back of a police car and drive off. The onlookers, devastated and enraged about Radio Raheem's death, blame Sal and his sons. Da Mayor tries to convince the crowd that Sal did not cause his death but the crowd remains stationary. In a brief fit of anger and grief, Mookie grabs a trash can and throws it through the window of Sal's pizzeria, sparking the crowd to rush into and destroy the pizzeria. Smiley sets the building on fire, and Da Mayor pulls Sal and his sons away from the mob, which then turns towards Sonny's store, preparing to destroy it too. However, a panicked Sonny eventually dissuades the group. The police return to the site, along with firemen and riot patrols to extinguish the fire and disperse the crowd. After they issue a warning, the firefighters turn their hoses on the rioters, leading to more fighting and arrests, while Mookie and Jade watch in shock from the curb. Smiley wanders back into the smoldering building and hangs one of his pictures on the remnants of Sal's Wall of Fame. The next day, after arguing with Tina, Mookie returns to Sal. He feels that Mookie had betrayed him, but Mookie demands his weekly pay. The two men argue and cautiously reconcile, and Sal finally pays Mookie. Local DJ Mister Señor Love Daddy dedicates a song to Radio Raheem. Before the credits, two quotations expressing different views about violence, one by Martin Luther King and one by Malcolm X, appear, followed by a photograph of both leaders shaking hands. Lee then dedicates the film to the families of six victims of brutality or racial violence: Eleanor Bumpurs, Michael Griffith, Arthur Miller Jr., Edmund Perry, Yvonne Smallwood, and Michael Stewart.

DEKALOG (Krzysztof Kieslowski, 1989)

The ten films are titled simply by number, e.g. Dekalog: One. According to film critic Roger Ebert's introduction to the DVD set, Kieślowski said that the films did not correspond exactly to the commandments, and never used their names himself.[11] Though each film is independent, most of them share the same setting in Warsaw, and some of the characters are acquainted with each other. Each short film explores characters facing one or several moral or ethical dilemmas as they live in a large housing project in 1980s Poland.[3] The themes can be interpreted in many different ways; however, each film has its own literality:[12] Commandment (Roman Catholic Enumeration)IdealKieślowskian Theme1. I am the Lord thy God... thou shalt not have other gods before me. Thou shalt not make unto thee any graven image... Thou shalt not bow down thyself to them, nor serve them.The sanctity of God and worshipIdolisation of science2. Thou shalt not take the name of the Lord thy God in vain.The sanctity of speechNames as fundamental to identify and moral choice; the importance of one's word in human life.3. Remember the Sabbath day, to keep it holy.The sanctity of timeTime designations (holidays, day/night etc.) as repositories of meaning4. Honor thy father and thy mother.The sanctity of authorityFamily and social relationship as regulators of identity5. Thou shalt not kill.The sanctity of lifeMurder and punishment6. Thou shalt not commit adultery.The sanctity of loveThe nature and relation of love and passion7. Thou shalt not steal.The sanctity of dominionPossession as human need and temptation8. Thou shalt not bear false witness against thy neighbor.The sanctity of truthThe difficulties of truth amid desperate evil9. Thou shalt not covet thy neighbor's wife.The sanctity of emotional contentmentSex, jealousy, and faithfulness10. Thou shalt not covet thy neighbor's goods.The sanctity of material contentmentGreed and relationships

DAISIES (Věra Chytilová, 1966)

The title sequence intersperses shots of a spinning flywheel with shots of airplanes strafing and bombing the ground.[8][a] The first scene shows Marie I and Marie II sitting in bathing suits. Creaking sounds accompany their movements and their conversation is robotic. They decide that, since the whole world is spoiled, they will be spoiled as well.[8][b] The Maries dance in front of a tree that has many different types of fruit on it.[c] Marie II eats a peach from the tree and the Maries appear in their apartment. Marie I goes on a date with an older man. Marie II shows up, saying she is Marie I's sister, and eats a lot of food while mocking the date and interfering with his amorous intentions. She asks when the man's train is leaving, and the trio go to the train station.[2] Marie I gets on the train with the man before sneaking off and going home with Marie II. The Maries go to a Prague nightclub where they upstage a 1920s-style dancing couple's floor show and annoy the patrons with their drunken antics.[9] Marie II attempts suicide by filling their apartment with gas, but fails because she left the window open. Marie I chastises her for wasting gas. The Maries flirt with another man to get him to pay for their meal before seeing him off on his train. They cry when he leaves, but then break into laughter. Marie II goes to the apartment of a man who collects butterflies. He repeatedly declares his love to her, but she just asks if there is any food around. The Maries rob a friendly female bathroom attendant. Back at their apartment, they cut up various phallic foods while the butterfly collector declares his love for Marie II over the telephone.[2] When the Maries try to send off a much older man on a train, he gets off, so they board the moving train and end up leaving him at the station. The Maries look at all of the names and phone numbers written on the walls of their apartment and try to pick a man to call. A man knocks on the door for Marie II, but Marie I teases her and she does not let him in. At a pool, each Marie tells the other that she does not like her anymore. At their apartment, the Maries soak in a bathtub full of milk[d] and philosophize about life and death, existence and non-existence. In the country, a farmer fails to notice the Maries. When a group of workers riding by on bicycles ignore them, Marie II begins to wonder if they have disappeared. They decide they must exist when they pass a mess they made with stolen ears of corn. Back in their apartment, they cut each other apart with scissors. The Maries sneak into the basement of a building. They take a mechanical dumbwaiter up several floors and find a feast that is all laid out, though no one is around. They eat the food, make a mess, and destroy the room.[2] They swing from a chandelier, which falls from the ceiling, and are dropped into open water. They call out to a nearby boat for help, and unseen sailors reach out large logs for the Maries to grab onto. They are repeatedly lifted and dunked back in the water before they lose their grip. They say they do not want to be spoiled anymore. The final scene[e] shows the Maries returning to the dining room. They sweep off the soiled tablecloth, set the table with shards of plates and broken glasses, and pour the food back onto platters, while whispering about being good and hardworking so everything will be wonderful and they will be happy. When they finish, they lie on the table and say they are happy. Marie II asks Marie I to repeat this, and Marie I asks if they are pretending. Marie II says they are not. The chandelier falls on them and the film cuts to war footage,[f] over which appears a statement dedicating the film "to those who get upset only over a stomped-upon bed of lettuce."[4]

DUCK SOUP (Leo McCarey, 1933)

The wealthy Mrs. Teasdale insists that Rufus T. Firefly be appointed leader of the small, financially struggling nation of Freedonia before she will continue to provide much-needed financial aid. Meanwhile, the neighboring country of Sylvania is scheming to annex Freedonia. Sylvanian ambassador Trentino tries to foment a revolution and court Mrs. Teasdale as he tries to dig up dirt on Firefly by sending in spies Chicolini and Pinky. After failing to collect any useful information against Firefly, Chicolini and Pinky are able to infiltrate the government when Chicolini is appointed Secretary of War after Firefly notices him selling peanuts outside his window. A short time later, Firefly's secretary, Bob Roland, tells Firefly he suspects Trentino's motives and he advises him to get rid of the thin-skinned Trentino by insulting him. Firefly agrees to the plan, but after a series of personal insults exchanged between Firefly and Trentino, the plan backfires when Firefly slaps Trentino instead of being slapped by him. As a result, the two countries come to the brink of war. Adding to the international friction is the fact that Firefly is also wooing Mrs. Teasdale, and, like Trentino, hoping to get his hands on her late husband's wealth. Trentino learns from sexy spy Vera Marcal that Freedonia's plans of war are in Mrs. Teasdale's safe and he tells her to assist Chicolini and Pinky in stealing them. Chicolini is eventually caught by Firefly and put on trial, during which war is officially declared, and everyone is overcome by war frenzy, breaking into song and dance. Chicolini and Pinky join Firefly and Bob Roland in anarchic battle, resulting in general mayhem. After a fierce battle, the end of the film finds Trentino caught in a makeshift pillory, with the Brothers pelting him with fruit. Trentino surrenders, but Firefly tells him to wait until they run out of fruit. Mrs. Teasdale begins singing the Freedonia national anthem in her operatic voice and the Brothers begin hurling fruit at her instead.

THE EXORCIST (William Friedkin, 1973)

Theatrical cut[edit] In northern Iraq, the adhan, the Islamic call to prayer, is heard. Catholic priest Lankester Merrin participates in an archaeological dig which unearths a medallion of Saint Joseph and an artifact representing Pazuzu, an ancient demon. As Merrin prepares to leave Iraq, he sees a large statue of Pazuzu, and two dogs fighting. In the Washington, D.C. neighborhood of Georgetown, actress Chris MacNeil works on a film directed by her friend Burke Dennings. A temporary resident, Chris lives in a well-appointed house with servants and her 12-year-old daughter Regan. Georgetown-based priest Damien Karras visits his mother in New York. He confides to a colleague that he feels unfit in his role as counselor to other priests, citing a crisis of faith. Chris hears noises in the attic, and Regan tells her of an imaginary friend named "Captain Howdy". In a local church, a statue of Mary is found desecrated. Chris hosts a party. Karras' friend Father Dyer explains Karras' role as counselor, mentioning that his mother died recently. Regan appears and urinates on the carpet. After Chris puts Regan to bed, her bed shakes violently. Dyer consoles Karras, and Karras expresses guilt at not having been with his mother when she died. Karras dreams of his mother, a Saint Joseph medallion and—briefly—a demonic face. Regan becomes violent. She is subjected to several medical tests which fail to find anything physically wrong with her. During a house call, a demon possesses Regan's body; the possessed Regan exhibits abnormal strength. One night, Chris finds the house empty except for a sleeping Regan. Dennings is found dead at the foot of an outdoor staircase beneath Regan's window. Homicide detective William Kinderman questions Karras, confiding that Dennings' body was found with its head turned backwards. Regan's condition worsens, and her body becomes covered with sores. A doctor mentions exorcism as a remote option, suggesting a possible psychological benefit. Kinderman visits Chris, explaining that the only plausible explanation for Dennings' death is that he was pushed from Regan's window. As Kinderman leaves, the possessed Regan stabs her genitals with a crucifix. To Chris's horror, the possessed Regan turns her head backwards and speaks in Dennings' voice. The possessed Regan is confined to her bedroom. Chris seeks out Karras, who visits Regan. Over two meetings, the possessed Regan claims to be the Devil himself, projectile vomits into Karras's face, speaks in tongues, and reacts violently when tap water is sprinkled on her, which Karras had claimed was holy water—a point against genuine possession. The demon says it will remain in Regan until she is dead. Desperate, Chris confides that the possessed Regan killed Dennings. At night, Chris's assistant calls Karras to the house. They witness the words "help me" materialize on Regan's skin. Still ambivalent, Karras nevertheless concludes that an exorcism is warranted. His superior grants permission on the condition that an experienced priest lead the ritual while Karras assists. Merrin, having performed an exorcism before, is summoned. Merrin arrives at the house, warning Karras that the demon uses a psychological attack. As the priests read from the Roman Ritual, the demon curses them. It focuses on Karras, verbally attacking his loss of faith and guilt over the circumstances of his mother's death. The priests rest momentarily and Merrin, shaking, takes nitroglycerin. Karras enters the bedroom where the demon appears as his mother. Showing weakness, Karras exclaims that the demon is not his mother. Merrin excuses Karras and continues the exorcism by himself. Karras assures Chris that Regan will not die and re-enters the room, finding Merrin dead. Enraged, Karras beats the possessed Regan and demands that the demon take him instead. The demon rips a medallion of Saint Joseph from Karras' neck and begins to possess him, freeing Regan. Karras hurls himself out the window, tumbling down the stairs outside. Chris and Kinderman enter the room. Chris embraces the healed Regan, and Kinderman surveys the violence and confusion. Outside, Dyer administers the last rites as Karras dies. The MacNeils prepare to leave, and Father Dyer says goodbye. Despite having no memory of her ordeal, Regan is moved by the sight of Dyer's clerical collar to kiss him on the cheek. As the MacNeils leave, Chris gives Dyer the medallion found in Regan's room. Director's cut ending[edit] In 2000, "The Version You've Never Seen" or the "Extended Director's Cut", was released. In the ending of this version, when Chris gives Karras' medallion to Dyer, Dyer places it back in her hand and suggests that she keep it. After she and Regan drive away, Dyer pauses at the top of the stone steps before walking away and coming across Kinderman, who narrowly missed Chris and Regan's departure; Kinderman and Dyer begin to develop a friendship.[10][11

MIRACLE IN MILAN (Vittorio De Sica, 1951)

This fantasy tale tells of Totò who, found as a baby in a cabbage patch, is adopted by Lolotta, a wise and kind old woman. When Lolotta dies he moves to an orphanage. At adulthood Totò (Francesco Golisano) leaves the orphanage and ends up in a shantytown squatter colony on the outskirts of Milan. Totò's organizational ability, learned at the orphanage, and his simple kindness and optimistic outlook acquired from Lolotta bring structure to the colony. He fosters a sense of happiness and well-being among the dispossessed who live there. Businessmen come and haggle over the ownership of the land but the squatters are left alone to live there. Oil is discovered under the colony when they are making a hole for a maypole during a festival. It forms a fountain in the middle of the camp and at first is thought to be water. Mobbi the land owner hears about the oil from the scheming squatter, Rappi, and tries to evict the squatters using an army of police. During this crisis Totò is given a magic dove by the ghost of Lolotta and he uses its powers to grant wishes to those who ask. The camp takes on a surreal appearance as every secret wish is granted. Eventually the dove is taken back by two angels who object to a mortal using its magic powers. Without the protection of the dove the camp is overrun by police and its occupants taken away in police wagons to be imprisoned. Toto's sweetheart, Edvige, replaces it with an ordinary dove and hands this to him through the bars of the police wagon in Piazza del Duomo outside Milan's cathedral. Totò uses the dove to wish for the freedom of his friends and because of his good faith it is granted. The police wagons fall apart and the squatters fly away on broomsticks seized from the street sweepers in Milan's central square. They circle around the Cathedral and then away, "towards a land where 'good morning really means good morning'."

TO BE OR NOT TO BE (Ernst Lubitsch, 1942)

The well-known stars of a Warsaw theater company, including "ham" Josef Tura and wife Maria, are rehearsing Gestapo, a satirical play. That night, when the company performs Hamlet, with Josef in the title role, one actor, Bronski, commiserates with colleague Greenberg about being spear carriers. Greenberg, implied to be Jewish, reveals he's always dreamed of playing Shylock in The Merchant of Venice. Maria receives an admiring letter from Lieutenant Stanislav Sobinski; she invites him to visit her in her dressing room that night when Josef begins his "To be or not to be..." speech. Soon, the government issues orders to cancel Gestapo in order to avoid worsening relations with Germany. The following night, Sobinski again walks out during "To be..." to meet Maria, infuriating Josef. Sobinski confesses his love to Maria, assuming that she'll leave her husband, and the stage, to be with him. Before Maria can correct him, news breaks out that Germany has invaded Poland. Sobinski leaves to join the Polish division of the Royal Air Force (RAF), and the actors hide as Warsaw is bombed. Sobinski and his fellows meet the Polish resistance leader Professor Siletsky. Siletsky will return to Warsaw soon, and the men give him messages for their loved ones. However, Sobinski becomes suspicious when Siletsky doesn't know of Maria Tura. The Allies realize that Siletsky knows the identity of Polish airmen's relatives, against whom reprisals can be taken should he tell the Nazis. Sobinski flies back to warn Maria; however, Siletsky has Maria brought to him by German soldiers and passes on Sobinski's message to her. He invites Maria to dinner, hoping to recruit her as a Nazi spy. Just before she arrives home, Josef returns and finds Sobinski in his bed. Maria and Sobinski try to figure out what to do about Siletsky, while Josef tries to understand his wife's relationship with the pilot. Josef proclaims he'll kill Siletsky. A company member in Gestapo disguise summons Siletsky to "Gestapo headquarters", the theatre. Josef pretends to be Gestapo Colonel Ehrhardt. Siletsky reveals Sobinski's message for Maria, and that "To be or not to be" signals their rendezvous. A surprised Josef uncontrollably reveals himself. Siletsky pulls a gun on him and tries to escape, but is shot and killed, on the theatre's stage, by Sobinski. Josef disguises himself as Siletsky, destroying his extra copy of the information and confronting Maria about her relationship with Sobinski. He meets Ehrhardt's adjutant, Captain Schultz, and is taken to meet him. Josef successfully passes himself off, and names recently executed prisoners as the leaders of the resistance. Later, Maria meets with Ehrhardt, who informs her that they found Siletsky's corpse in the theatre. Josef, unaware of this, telephones Ehrhardt still masquerading as Siletsky. Ehrhardt decides to expose him as an impostor by leaving him in a room where he finds Siletsky's body. Josef, who has an extra fake beard, shaves off Siletsky's beard and applies the fake beard, and then goads Ehrhardt into pulling it off, convincing him Josef is the real Siletsky. Unaware of Josef's successful scheme, several actors disguised as Gestapo arrive at Maria's request, yank off Josef's fake beard, and pretend to drag him out. Everyone is safe but now cannot leave Poland on the plane Ehrhardt had arranged for Siletsky. The Germans stage a show to honor the visiting Hitler. The actors slip into the theater dressed as Germans and hide until Hitler and his entourage take their seats. As the Germans sing the Deutschlandlied, Greenberg suddenly appears and rushes Hitler's box, causing enough distraction to exchange the actors for the real Germans. Acting as the head of Hitler's guard, Josef demands to know what Greenberg wants, giving the actor his chance to deliver Shylock's speech, ending with "if you wrong us, shall we not revenge?!" Josef orders Greenberg to be "taken away"; all the actors march out, get in Hitler's cars and drive away. At her apartment, Maria waits for the company, as they all intend to leave, but Ehrhardt arrives. Bronski enters costumed as Hitler, then walks out speechless, shocked at seeing Ehrhardt trying to seduce Maria—which makes Erhardt believe she's Hitler's mistress. Maria flees; Ehrhardt shoots himself out of shame. The actors take off on Hitler's plane. Sobinski flies to Scotland, where the press interviews the actors. Asked what reward Josef would like for saving the underground movement, Maria asserts that he wants to play Hamlet. While performing, Josef is gratified to see Sobinski sitting quietly in the audience at the critical moment of his soliloquy. But as he proceeds, the audience is distracted as a handsome young officer gets up and heads noisily backstage.

THE HEADLESS WOMAN (Lucrecia Martel, 2008)

This film is centered around Verónica ("Vero"), an Argentinean bourgeois woman, and how her life slowly twists out of control after she thinks perhaps she struck and killed a person with her car. As Vero is driving, she is distracted by her cell phone and, as she looks down to answer it, her car hits something. She peers in the rear-view mirror, collects herself, and drives away. A non-point-of-view shot of Véro driving away from the scene shows a dog lying dead on the ground. Although Vero seems indifferent about the situation, it is clear that the incident deeply disturbs her. She acts clumsy and out of place. When she informs her husband Marcos that she thinks she may have run over someone, she insists upon returning to the scene of the accident; they see something on the side of the road, which her husband insists is merely a dog, though Vero is even more unsure than before. Later, the body of a dark-skinned servant's child is recovered from a canal, right above the spot where the accident occurred. Her niece Candita, who has a crush on Vero, tells her that she wants to know more about "that boy who was murdered," but Vero insists that the boy was drowned: "The papers say he was drowned." Still privately unconvinced, in an attempt to jog back her memory after the accident, Vero revisits a hospital where she had X-rays taken and a hotel where she had a post-accident tryst with her lover Juan Manuel. She discovers that there are no records of her visits to a hospital (perhaps scrubbed by her brother, who works there) and the hotel where she stayed (perhaps scrubbed by Juan Manuel). Finally, she attends a bourgeois party in a hotel, smiling weakly and dazedly as people enter in and out of the busy frame.

RED RIVER (Howard Hawks, 1948)

Thomas Dunson wants to start a cattle ranch in Texas. Shortly after he begins his journey to Texas with his trail hand Nadine Groot, Dunson learns that his love interest Fen was killed in an Indian attack. He had told Fen to stay behind with the California-bound wagon train, with the understanding that he would send for her later. That night, Dunson and Groot fend off an attack by Indians. On the wrist of one, Dunson finds a bracelet he had been left by his late mother, which he had given to Fen as he left the train. The next day, an orphaned boy named Matthew Garth (played as a boy by Mickey Kuhn) wanders into Dunson and Groot's camp. He is the sole survivor of the wagon train, and Dunson adopts him. Dunson, Groot, and Matt enter Texas by crossing the Red River. They settle in deep South Texas near the Rio Grande. Dunson names his new spread the Red River D, after his chosen cattle brand for his herd. He promises to add M (for Matt) to the brand, once Matt has earned it. Fourteen years pass, and Dunson has a fully operational cattle ranch, but he is broke as a result of widespread poverty in the southern United States following the Civil War. He decides to drive his massive herd hundreds of miles north to the railhead at Sedalia, Missouri, where he believes they will fetch a good price. After Dunson hires men to help, including professional gunman Cherry Valance, the northward drive starts. Along the way, they encounter many troubles. One of the men, Bunk Kenneally, raises a racket in one of the chuckwagons while sneaking sugar, triggering a stampede. This leads to the death of drover Dan Latimer. When Dunson attempts to whip Bunk as punishment for causing the stampede, the latter draws his gun. Matt shoots and wounds Bunk, probably saving his life because Dunson certainly would have shot to kill. Bunk is fired and sent home. Valance tells Matt that he is weak because he did not kill his man. Continuing with the drive, Valance relates that the railroad has reached Abilene, Kansas, which is much closer than Sedalia. When Dunson confirms that Valance had not actually seen the railroad, he ignores the rumor in favor of continuing to Missouri. Dunson's tyrannical leadership style begins to affect the men, with his shooting three drovers who try to quit the drive. After Dunson announces he intends to lynch two men who stole supplies, tried to desert, and were captured by Valance, Matt rebels. With the support of the cowhands, he takes control of the herd in order to drive it along the Chisholm Trail to the hoped-for railhead in Abilene. With Matt now the trail boss,[8] Valance and Buster become his ramrods.[9] Dunson curses Matt and promises to kill him when they next meet. The drive turns toward Abilene, leaving Dunson behind. On the way to Abilene, Matt and his men repel an Indian attack on a wagon train made up of gamblers and dance hall girls. One of the people they save is Tess Millay, who falls in love with Matt. They spend a night together, and he gives her Dunson's mother's bracelet. Eager to beat Dunson to Abilene, he leaves early in the morning, the same way Dunson had left his lady love with the wagon train 14 years before. Later, Tess encounters Dunson, who has followed Matt's trail and now sees her wearing his mother's bracelet. Weary and emotional, he tells Tess what he wants most of all is a son. She offers to bear him one if he will abandon his pursuit of Matt. Dunson sees in her the anguish that Fen had expressed when he left her, and decides to resume the chase with Tess accompanying him. When Matt reaches Abilene, he finds the town has been awaiting the arrival of such a herd to buy. He accepts an offer for the cattle, and meets Tess again. The next morning, Dunson arrives in Abilene with his posse. Dunson and Matt begin a fistfight which Tess interrupts, demanding that they realize the love that they share. Making peace, Dunson advises Matt to marry Tess and tells him that when they get back to the ranch, he will incorporate an M into the brand, telling Matt that he has earned it.

THE EMPIRE STRIKES BACK (Irvin Kershner, 1980)

Three years after the destruction of the Death Star,[c] the Imperial fleet, led by Darth Vader, dispatches Probe Droids across the galaxy to find Princess Leia's Rebel Alliance, with one probe locating the rebel base on the ice planet Hoth. A wampa captures Luke Skywalker before he can investigate the probe, but he escapes by using the Force to retrieve his lightsaber and wound the beast. Before succumbing to hypothermia, the Force spirit of Luke's deceased mentor, Obi-Wan Kenobi, instructs him to go to the swamp planet Dagobah to train as a Jedi Knight under the Jedi Master Yoda. Han Solo discovers Luke and insulates him against the weather inside his deceased tauntaun mount until they are rescued the next morning. Alerted to the Rebels' location, the Empire launches a large-scale attack using AT-AT walkers to capture the base, forcing the Rebels to evacuate. Han and Leia escape with C-3PO and Chewbacca aboard the Millennium Falcon, but the ship's hyperdrive malfunctions. They hide in an asteroid field, where Han and Leia grow closer amid the tension. Vader summons several bounty hunters, including Boba Fett, to find the Falcon. Evading the Imperial fleet, Han's group travels to the floating Cloud City on the planet Bespin, which is governed by his old friend Lando Calrissian. Fett tracks them there and Vader forces Lando to surrender the group to the Empire, knowing Luke will come to their aid. Meanwhile, Luke travels with R2-D2 in his X-wing fighter to Dagobah, where he crash-lands. He meets Yoda, a diminutive creature who reluctantly accepts him as his Jedi apprentice after conferring with Obi-Wan's spirit. Yoda trains Luke to master the light side of the Force and resist negative emotions that will seduce him to the dark side, as they did Vader. Luke struggles to control his anger and impulsiveness and fails to comprehend the nature and power of the Force until he witnesses Yoda use it to telekinetically lift the X-wing from the swamp. Luke has a premonition of Han and Leia in pain and, despite Obi-Wan's and Yoda's protestations, abandons his training to rescue them. Although Obi-Wan believes Luke is their only hope, Yoda asserts that "there is another." Leia confesses her love for Han before Vader freezes him in carbonite to test whether the process will safely imprison Luke. Han survives and is given to Fett, who intends to collect his bounty from Jabba the Hutt. Lando frees Leia and Chewbacca, but they are too late to stop Fett's escape. The group fights its way back to the Falcon and flees the city. Luke arrives and engages Vader in a lightsaber duel over the city's central air shaft. Vader overwhelms Luke, severing his right hand and separating him from his lightsaber. He urges Luke to embrace the dark side and help him destroy his master, the Emperor, so they may rule the galaxy together. Luke refuses, citing Obi-Wan's claim that Vader killed his father, prompting Vader to reveal that he is Luke's father. Desperate, Luke drops into the air shaft and is ejected beneath the floating city, latching onto an antenna. He reaches out through the Force to Leia, and the Falcon returns to rescue him. TIE fighters pursue the group, which is almost captured by Vader's Star Destroyer until R2-D2 reactivates the Falcon's hyperdrive, allowing them to escape. Aboard the Rebel fleet, a robotic prosthesis replaces Luke's hand. He, Leia, C-3PO, and R2-D2 observe as Lando and Chewbacca depart on the Falcon to find Han.[d]

ONCE UPON A TIME IN ANATOLIA (Nuri Bilge Ceylan, 2011)

Through the night, three cars carry a small group of men - police officers, a doctor, a prosecutor, grave diggers, gendarmerie forces, and two brothers, homicide suspects - around in the rural surroundings of the Anatolian town Keskin, in search of a buried body. Kenan, one of the suspects, leads them from one water fountain to another; at the time of the crime he was drunk and he cannot recall where he and his mentally challenged brother buried the body. The darkness and visual indistinctness of the landscape do not help; each spot looks the same as the others. Meanwhile, the men discuss a variety of topics, such as yoghurt, lamb chops, urination, family, spouses, ex-wives, death, suicide, hierarchy, bureaucracy, ethics, and their jobs. Philosophy is also discussed, with one apparently central and particular idea/theme mentioned a couple of times throughout the film—the idea that children invariably pay for their parents' mistakes. After many stops the prosecutor begins to tell the doctor about a particularly mysterious death where a woman correctly predicted to her husband the exact date of her own death, which was a short time after she had given birth to a child. The story is interrupted when the prosecutor sees some of his men lashing out at Kenan after discovering that once again they are in the wrong spot. As the group discusses what to do next, Kenan asks the doctor for a cigarette which he tries to give him. Commisar Naci stops him however and tells Kenan that he can have a cigarette when he earns it. The group stops at a nearby village to eat at the home of the town mayor. The mayor pleads with the prosecutor to speak to the authorities of his town to help provide funds to build a morgue where bodies can be prepared. When some of the men suggest that he simply bury the bodies quickly the man informs them that emigration means that only old people are left in the town and when their children learn of their deaths they beg him not to bury the bodies immediately so that they may come back and see their parents one last time. The wind causes a power outage during which the mayor's young daughter brings the men tea on a tray, with a lamp on the tray lighting her face. Several of the men are struck by her beauty. After seeing her Kenan begins to cry. While waiting for the light to come back on the doctor asks about the cause of death of the woman who predicted the day of her own death. The prosecutor says it was natural, a heart attack. The doctor then asks whether an autopsy was performed, and the prosecutor replies that there was no need as the cause of death was obvious and unsuspicious. The doctor suggests that it may have been a self-induced heart attack with the use of drugs and therefore a suicide. Meanwhile, Kenan reveals what happened the night of the killing - while drunk he let slip the secret that the victim's son was actually his, and then things got ugly. After confessing to the comissar he is given a cigarette. Daylight breaks. Kenan finally takes them to the correct location where the group is able to unearth the body which they discover to their horror has been hogtied. Needing to take the body to the hospital to be autopsied they realize that they do not have a body bag and that the body, now untied, had been tied by Kenan in order to make it fit in the trunk of his car. After contemplating whether to tie the body up again they succeed in making it fit by bending the corpse. The mother and son (perhaps 12 years old) are waiting outside the hospital. The son throws a stone at Kenan hitting him between the eyes. Kenan cries. At the hospital the prosecutor again discusses the woman who predicted her own death with the doctor. They further discuss the possibility of suicide, where it is established that a certain prescription drug could have been used to induce the heart attack. The prosecutor is familiar with the drug as his father-in-law took it for his heart problems. Possible reasons for suicide are also discussed, and the two come to a possible motive—her husband's confirmed infidelity. At the end of the discussion the prosecutor's behavior suggests that the woman may have been his own wife. The prosecutor invites the victim's wife to identify the body in the hospital morgue, files the necessary paperwork, and departs, leaving the doctor to perform the autopsy. The autopsy reveals the presence of soil in the lungs, implying that the victim had been buried alive, but the doctor intentionally omits that from the report. The movie ends with a shot from the doctor's perspective of the mother and son in the distance walking away with the husband's belongings. The son sees that a soccer ball has been accidentally kicked far from a schoolyard and he runs and retrieves it and kicks it back to the children in the yard. He then runs back to his mother.

AN AUTUMN AFTERNOON (Yasujiro Ozu, 1962)

Tokyo, 1962. Shūhei Hirayama (Chishū Ryū) is an aging widower with a 32-year-old married son, Kōichi (Keiji Sada), and two unmarried children, 24-year-old daughter Michiko (Shima Iwashita) and 21-year-old son Kazuo (Shin'ichirō Mikami). The ages of the children and what they respectively remember about their mother suggests that she died just before the end of the war, perhaps in the bombing of Tokyo in 1944-45. Since his marriage, Kōichi has moved out to live with his wife in a small flat, leaving Hirayama and Kazuo to be looked after by Michiko. Hirayama and five of his classmates from middle-school, Kawai (Nobuo Nakamura), Horie (Ryūji Kita), Sugai (Tsūzai Sugawara), Watanabe (Masao Oda) and Nakanishi, hold regular reunions at a restaurant called Wakamatsu ("Young Pine"), which is owned by Sugai. They reminisce about old times and banter with each other. For example, Horie is teased about having a new young wife and asked whether he is taking pills to maintain his virility. Their old teacher of Chinese classics, Sakuma (Eijirō Tōno), nicknamed Hyōtan ("the Gourd"), attends one of the reunions. We learn from a remark of his that Hirayama went from school to the Imperial Japanese Naval Academy, so would have been a career naval officer up to 1945. Sakuma has too much to drink, and when Kawai and Hirayama take him home, they find that he has fallen on hard times and is running a cheap noodle restaurant in a working-class area. They meet his middle-aged daughter Tomoko (Haruko Sugimura), who missed the chance to marry when young and is now too old. Sakuma's former pupils decide to help him out with a gift of money, and Hirayama goes back to the restaurant to hand it over. While he is there, Yoshitarō Sakamoto (Daisuke Katō), the owner of a small local car-repair shop, comes in for a bowl of noodles and recognises Hirayama as the captain of the ship in which he served as a Petty Officer during the war. He takes Hirayama to his favourite bar. Hirayama notices that the bar-owner Kaoru (Kyōko Kishida) resembles his dead wife. Kaoru puts on a recording of the patriotic song Warship March and Sakamoto marches up and down, holding a salute and singing meaningless syllables in time to the music, in a mocking version of military drill. Later, Hirayama visits the bar alone and Kaoru puts the record on again. Two tipsy customers begin to parody the kind of morale-boosting radio propaganda announcements that would have been introduced by this tune during the war. Kōichi borrows 50,000 yen from his father, ostensibly to buy a refrigerator, but this is more than the refrigerator will cost. He plans to use the extra money to buy a set of second-hand golf clubs from his colleague Miura (Teruo Yoshida). His wife Akiko (Mariko Okada) does not want him to do so, and says that if he is going to indulge himself like this, she will spend money on an expensive white leather handbag. Eventually, having made her point, she relents. The "Gourd" tells his former pupils that it is because he selfishly kept her at home to look after him that his daughter is now condemned to a lonely life as a spinster. Troubled by this, Hirayama recognises his own selfishness in keeping Michiko at home to look after him, and decides to arrange a marriage for her. He asks Kōichi to find out if Miura, whom Michiko is fond of, is interested. Unfortunately, Miura is already engaged. Kōichi and Hirayama break the news to Michiko. Michiko does not react but retires to her room. Hirayama and Kōichi conclude that she is not upset, but a little later Kazuo comes in and asks why Michiko is crying. Hirayama later asks Michiko if she is willing to go for a matchmaking session with a candidate Kawai has selected. Michiko agrees. In one of the ellipses Ozu is famous for, the film next shows us Michiko being dressed in a traditional wedding kimono and head-dress. She has clearly agreed to marry, but the bridegroom, and the wedding ceremony, are never shown. After the wedding, Hirayama goes to a bar with friends while Kōichi, Akiko and Kazuo wait for him at home. When he returns, drunk, Kōichi and Akiko leave. Kazuo goes to bed, leaving Hirayama by himself. In the final scene, a melancholy Hirayama drunkenly sings snatches of the Warship March. His last words in the film are "Alone, eh?".

A HISTORY OF VIOLENCE (David Cronenberg, 2005)

Tom Stall is a diner owner who lives in the small town of Millbrook, Indiana with his wife Edie and his children Jack and Sarah. One night, two spree killers enter Tom's restaurant, threaten those inside, and sexually assault one of his employees. Tom deftly kills them and is hailed a hero, while the incident makes national news. A few days later, Tom is visited by a man named Carl Fogarty, who alleges that Tom is actually Joey Cusack, a former gangster with the Irish mob in Philadelphia. Tom vehemently denies this, but Carl remains persistent and begins to stalk the Stalls. Under pressure, Tom's relationship with Edie, Jack, and Sarah faces continued strain. Following an argument with Tom over the use of violence at school, Jack runs away, only to be captured and held hostage by Carl. Carl confronts Tom and demands his return to Philadelphia in exchange for his son's release. After Jack is freed, Tom manages to kill Carl's henchmen until Carl shoots him. A wounded Tom drops his façade and manifests his former self, but Jack shoots and kills Carl with a shotgun before he can fight back. At the hospital, a furious Edie confronts Tom, who admits to being Joey Cusack, revealing that he started a new life to escape his past. Tom becomes further isolated from the rest of his family and the community. One day, Tom receives a phone call from his estranged brother, Richie Cusack, who demands his return. Returning to Philadelphia, Tom learns that his past actions have delayed Richie's advancement with the Irish mob. Tom offers peace, but Richie orders his men to kill his brother. Tom manages to escape from being strangled to death; he kills the gangsters and confronts Richie before shooting him dead. After returning home to find his family eating dinner, Tom is offered food by Jack and Sarah, signaling his acceptance back into their lives.

THE BAND WAGON (Vincente Minnelli, 1953)

Tony Hunter, once a famous star of musical comedies on stage and later on screen, is largely forgotten after three years without appearing in a film. He returns from Hollywood to New York. At Grand Central Station, he is recognized but almost ignored by reporters who are there by chance as Ava Gardner is on the same train. However, he is greeted enthusiastically by his good friends Lester and Lily Marton, and they tell him they have written a stage show, a light musical comedy, that will be a perfect comeback for Tony. They will also act in it, and they already have caught the interest of Jeffrey Cordova, who they say can do anything: Currently he is starring in, as well as directing, a new adaptation of Oedipus Rex that he wrote based on the original Greek story. As soon as Jeffrey hears Lily outline the play, he declares it to be a brilliant reinterpretation of the Faust legend, which should star Tony and himself as the characters corresponding to Faust and the Devil. The Martons are delighted that he will be acting as well as directing, but Tony is dubious about the Faust idea. Jeffrey declares that the boundaries between genres in the theater are artificial, and "Bill Shakespeare" and Bill Robinson are all parts of the same whole—to prove his point, he leads the four in singing "That's Entertainment!" Tony agrees, and Jeffrey has the Martons rewrite the play as a dark, pretentious musical drama (when Lester also becomes dubious, Lily insists that one person must be in charge and Jeffrey can succeed at anything). Jeffrey does succeed in arranging for the beautiful and talented ballerina Gabrielle "Gaby" Gerard to join the production, along with Paul Byrd, who is her boyfriend, choreographer, and manager—even though he always insisted that a musical play would be beneath her. When Tony and Gaby meet, they become sarcastic and hostile to each other, but this is actually because they are insecure: Each of them feels much less talented than the other. Eventually, it all proves too much for Tony, and he walks out. Gaby follows to meet him privately. In his hotel room, she comments that the paintings by famous artists on the wall are better reproductions than usual in a hotel; he says they are his own property, and are originals. She recognizes a painting of ballerinas as an early Degas. Tony and Gaby put their troubles aside, go for a horse-drawn carriage ride, dance together, and realize they can work together after all. They also begin to fall in love. When the first out-of-town tryout in New Haven proves disastrous, Tony demands that Jeffrey convert the production back into the light comedy that the Martons had envisioned. Jeffrey says that while they will have to find new backers because the original ones have walked out, he will be happy to appear in that show—if Tony is in charge of it. Tony accepts, using his art collection to finance the production. Paul says the show is no longer suitable for Gaby and walks out, expecting her to follow, but she is pleased to stay and work with Tony. After some weeks on tour to perfect the new lighthearted musical numbers, the revised show proves to be a hit on its Broadway opening. Afterwards, Gaby and Tony kiss in front of the entire cast and crew, and the finale is a reprise of "That's Entertainment!"

THE PHILADELPHIA STORY (George Cukor, 1940)

Tracy Lord is the elder daughter of a wealthy Philadelphia Main Line socialite family. She was married to C.K. Dexter Haven, a yacht designer and member of her social set, but divorced him two years prior, because, according to her father, he does not measure up to the standards she sets for all her friends and family: He drank too much for her taste, and, according to him, as she became critical of him, he drank more. Their only interaction while married, the film's opening scene, is her breaking his golf clubs and him pushing her to the ground. Now, she is about to marry nouveau riche "man of the people" George Kittredge. Tracy is short a groom, with a roomful of wedding guests waiting. In New York, Spy magazine publisher Sidney Kidd is eager to cover the wedding, and assigns reporter Macaulay "Mike" Connor and photographer Liz Imbrie. Kidd intends to use the assistance of Dexter, who has been working for Spy in South America. Dexter tells Kidd that he will introduce them as friends of Tracy's brother Junius (a U.S. diplomat in Argentina). Tracy is not fooled, but Dexter tells her that Kidd has threatened the reputation of her family with an innuendo-laden article about her father's affair with a dancer. Tracy deeply resents her father's infidelity, which has prompted her parents to live separately. Nonetheless, to protect her family's reputation, she agrees to let Mike and Liz stay and cover her wedding. Dexter is welcomed back with open arms by Tracy's mother Margaret and teenage sister Dinah, much to Tracy's frustration. She soon discovers that Mike has admirable qualities, and even seeks out his book of short stories in the public library. As the wedding nears, she finds herself torn between her fiancé George, Dexter, and Mike. The night before the wedding, Tracy gets drunk for only the second time in her life, kisses Mike, and ultimately takes an innocent midnight swim with him. When George observes Mike carrying an intoxicated Tracy into the house afterward, he assumes the worst. The next day, he tells her that he was shocked and feels entitled to an explanation before going ahead with the wedding. Yet, she admits she really has none, and realizes that he does not really know her at all. He has loved her as a perfect, ideal angel, an embodiment of goodness—a virginal statue—and not as a person, so she breaks off the engagement. By now she better understands her own imperfections and her criticism of others. Tracy realizes that all the guests have arrived and are waiting for the ceremony to begin. Mike quickly volunteers to marry her, but she graciously declines because she perceives that Liz is in love with him. Then, Dexter, who clearly planned to win her back all along, offers to remarry her, and she gladly accepts.

TWO-LANE BLACKTOP (Monte Hellman, 1971)

Two street racers, the Driver and the Mechanic, live on the road in their highly modified, primer-gray 1955 Chevrolet 150 two-door sedan drag car, and drift from town to town making their income by challenging local residents to impromptu drag races. ("Blacktop" means an asphalt road.) As they drive east on Route 66 from Needles, California, they pick up the Girl, a female hitchhiker, in Flagstaff, Arizona, when she gets into their car at a diner. Although the Driver develops a crush on the Girl, she sleeps with the Mechanic when the Driver goes out drinking one night. In New Mexico they begin to encounter another car driver, GTO, on the highways. An atmosphere of hostility develops between the two parties. Although GTO is not an overt street racer and seems to know little about cars, a cross-country race to Washington, D.C., is suggested. The Driver proposes that the prize should be "pinks" (pink slips), or legal ownership of the loser's car. Along the way, GTO picks up various hitchhikers, including an importuning homosexual hitchhiker. When GTO's inexperience becomes apparent, he, the Driver and the Mechanic form an uneasy alliance; the Driver even drives with him for a while when GTO gets fatigued. Needing money, the Driver, the Mechanic and GTO compete at a race track in Memphis. While the Driver finishes his race, the Girl hops into GTO's car and they leave. The Driver pursues them to a diner located on US-129 (a location today known as the Tail of the Dragon) where the Girl has just rejected GTO's idea to visit Chicago. The Driver proposes going to Columbus, Ohio, to get parts, but the Girl rejects him too. Instead, she leaves with a stranger on a motorcycle, abandoning her belongings in the parking lot. Later, GTO picks up two soldiers and tells them that he won his car by beating two men driving a custom-built 1955 Chevrolet 150 in a cross-country race. At an airstrip in East Tennessee, the Driver races against a Chevrolet El Camino. The film ends abruptly.Two street racers, the Driver and the Mechanic, live on the road in their highly modified, primer-gray 1955 Chevrolet 150 two-door sedan drag car, and drift from town to town making their income by challenging local residents to impromptu drag races. ("Blacktop" means an asphalt road.) As they drive east on Route 66 from Needles, California, they pick up the Girl, a female hitchhiker, in Flagstaff, Arizona, when she gets into their car at a diner. Although the Driver develops a crush on the Girl, she sleeps with the Mechanic when the Driver goes out drinking one night. In New Mexico they begin to encounter another car driver, GTO, on the highways. An atmosphere of hostility develops between the two parties. Although GTO is not an overt street racer and seems to know little about cars, a cross-country race to Washington, D.C., is suggested. The Driver proposes that the prize should be "pinks" (pink slips), or legal ownership of the loser's car. Along the way, GTO picks up various hitchhikers, including an importuning homosexual hitchhiker. When GTO's inexperience becomes apparent, he, the Driver and the Mechanic form an uneasy alliance; the Driver even drives with him for a while when GTO gets fatigued. Needing money, the Driver, the Mechanic and GTO compete at a race track in Memphis. While the Driver finishes his race, the Girl hops into GTO's car and they leave. The Driver pursues them to a diner located on US-129 (a location today known as the Tail of the Dragon) where the Girl has just rejected GTO's idea to visit Chicago. The Driver proposes going to Columbus, Ohio, to get parts, but the Girl rejects him too. Instead, she leaves with a stranger on a motorcycle, abandoning her belongings in the parking lot. Later, GTO picks up two soldiers and tells them that he won his car by beating two men driving a custom-built 1955 Chevrolet 150 in a cross-country race. At an airstrip in East Tennessee, the Driver races against a Chevrolet El Camino. The film ends abruptly.

LOVE STREAMS (John Cassavetes, 1984)

Undergoing a messy divorce from a husband and daughter tired of her continuously overwrought emotional states,Sarah Lawson visits her brother Robert Harmon, an alcoholic playboy and writer who is in a relationship with Susan, a professional singer, although he carefully avoids any real emotional commitment to anyone. Robert is visited by his ex-wife, who forces him to take care of their eight-year-old son, whom he has never met, for 24 hours. Robert's son is terrified by the hedonistic, decadent, womanizing world of his father and begs to be taken home following an overnight trip to Las Vegas filled with gambling and prostitutes. After dropping him off, Robert is beaten up by the boy's stepfather, after which his son testifies his love for Robert. Fleeing the scene, Robert returns home to take care of his sister, his "best friend." Sarah tries with some success to curb the nihilistic self-destruction of Robert's life and simultaneously deal with her own depression and divorce. She gets him some animals hope he can give his love to them and Robert struggles between his intense desire to protect his sister and the challenge of accepting her freedom as the necessary cost of love. Finally, after a bizarre dream of being in an opera with her husband and daughter, Sarah feels ready to resume her life and possibly even get her family back, or not. She walks away from the house in the middle of a storm as Robert looks on kind of sadly. He hallucinates that one of the dogs she gave him has turned into a naked man and is waving at him.

THE THIN RED LINE (Terrence Malick, 1998)

United States Army Private Witt goes AWOL from his unit in 1942 to live among the carefree Melanesian natives in the South Pacific. He is found and imprisoned on a troopship by First Sergeant Welsh of his company. Witt is not allowed to rejoin his unit, and is instead punitively assigned to act as a stretcher bearer for the upcoming campaign. The men of C Company, 1st Battalion, 27th Infantry Regiment, 25th Infantry Division, have been brought to the island of Guadalcanal as reinforcements in the campaign to secure Henderson Field, seize the island from the Japanese, and block off their route to Australia. C Company is commanded by Capt. James Staros. As they wait in the hold of a Navy transport ship, they contemplate their lives and the upcoming invasion. The company lands on Guadalcanal unopposed. They march into the interior of the island, and along the way encounter natives and evidence of the ongoing Japanese presence. The company soon finds its objective: Hill 210, a key enemy position. The attack commences at dawn the next day. Charlie Company storms up the hill, but is immediately repelled by heavy machine-gun fire. One group, a squad led by Sergeant Keck, hides behind a knoll safe from enemy fire "to await reinforcements". When they are fired upon, Keck reaches for a grenade on his belt and accidentally pulls the pin, then throws himself back on the grenade so that he will be the only one killed by the blast. At another point, Sergeant Welsh attempts to rescue a dying soldier, only to provide him with enough morphine to put him out of his misery. Lt. Col. Gordon Tall orders Staros over the field telephone to capture the bunker by frontal assault, at whatever cost. Staros balks, stating that he will not commit his men to what he sees as a suicide mission. Meanwhile, Pvt. Bell covertly scouts the summit of the hill by himself and assesses the Japanese stronghold. Furious at Staros's refusal to obey his command, Tall ventures up to Charlie Company's position, accompanied by his battalion executive officer, Captain John Gaff. When they arrive, they find that the Japanese resistance seems to have lessened, and Tall's opinion of Staros is sealed. After being advised of Bell's reconnaissance of the Japanese position, Tall suggests a small detachment of men to perform a flanking maneuver on the bunker to capture it. Among the men to volunteer for the mission are Pvts. Witt, Doll, and Bell. Captain Gaff is given command of the detachment, and they proceed up the hill toward the bunker. A fierce battle ensues, but ultimately the American forces are victorious, and the hill is captured. For their efforts, the men are given a week's leave, though they find little joy in the respite in the fighting. While the company is bivouacked, Staros is relieved of his command by Tall, who deems him too soft for the pressures of combat and suggests that he apply for reassignment and become a lawyer in the JAG Corps in Washington, D.C. During this time, Bell receives a letter from his wife, informing him that she has fallen in love with another man and seeks a divorce. Witt, meanwhile, comes across some of the locals and notices that they have grown distant and distrustful of outsiders, and regularly quarrel with each other. The company is sent on patrol up a river under the command of Lieutenant Band. Witt, along with Cpl. Fife, and Pvt. Coombs, scout upriver and encounter an advancing Japanese column. As they attempt to retreat, Coombs is wounded. Witt draws away the Japanese to buy time for Fife, but Witt is encircled by one of their squads and killed. After his body is buried by his squadmates, the company receives a new commander, Captain Bosche. They are relieved of duty and evacuated from Guadalcanal by a waiting LCT.

THREE COLOURS: RED (Krzysztof Kieslowski, 1994)

Valentine Dussaut is a University of Geneva student who works part-time as a model. She often contacts her possessive boyfriend, who is currently overseas, and plans to meet him in London. One day, she poses for a chewing-gum advertising campaign, and a photograph of her displaying sadness is chosen. After a modeling job, Valentine hits Rita, a pregnant Malinois dog, while driving home. She tracks down the dog's owner, Joseph Kern. When he shows no concern, Valentine takes the dog to a veterinarian and decides to keep her. She selects her favorite photo at the studio, rebuffing sexual advances from the ad company's photographer. Money later is delivered to Valentine's apartment from an unknown sender. The next day, Valentine takes Rita for a walk, and the dog leads her back to Kern's house. Kern confirms that he sent the money for the vet expenses and tells Valentine to keep the dog. As he gave her extra money, she decides to returns it to him. While waiting for Kern, Valentine goes inside his house and catches him eavesdropping on a male neighbor's phone conversation with his male lover. She tries to convince Kern to respect his neighbor's privacy; he challenges her to reveal the eavesdropping to the neighbor. When Valentine does this, she discovers the neighbor's daughter listening on the phone extension. Kern reveals that he is a retired judge, and his actions will not change the outcome of people's lives. Valentine shares that her brother's biological father is not her dad. Kern also suspects a neighbor of drug trafficking and shows her Auguste, a law student neighbor of Valentine. Auguste finds a relevant chapter in the Criminal Code when his textbooks fall open while he walks home. He passes his exam to become a judge, crediting his success to the dropped textbook. That night, Kern writes letters confessing his spying activities, resulting in a class-action lawsuit. At court, Kern sees Karin flirting and admits to confessing due to Valentine's disgust. While they discuss altruism, Kern recounts a case where he wrongly acquitted a sailor. Valentine asks if Kern has ever loved; he evades the question and talks about a dream where she was happy. Auguste cannot reach Karin by phone, so he climbs up to her flat and catches her having sex with another man. He takes his anger out on his dog and leaves it at a lamppost. Kern calls Karin's "Personal Weather Service" to inquire about the weather for the English Channel, which she predicts will be clear. Karin plans to sail there soon with her new boyfriend, who owns a yacht. Before leaving for England, Valentine invites Kern to her fashion show. As they have coffee at the theater, Kern senses that the gathering storm will soon put Valentine in danger. Their conversation turns to Kern's doomed love life. Kern reveals that the girl he loved died in an accident after he followed her across the English Channel. His last case as a judge involved his ex-girlfriend's lover. By coincidence, Auguste's first case as a judge is Kern's trial. Kern shares more details of his dream with Valentine, in which she is 50 and happy with a man she loves. Before parting ways, Kern and Valentine plan to meet again in three weeks when he will give her one of Rita's puppies. Finally, Valentine boards the ferry to England. Auguste also boards the ferry, reunited with his dog. While searching for their seats, they come in close proximity to each other as they ask an employee for directions. Meanwhile, Kern tends to the puppies and learns that a storm has hit the English Channel, causing both the ferry and the yacht to sink. Watching the television coverage of the incident, it is revealed there were only seven survivors: a barman, Julie and Olivier from Blue, Karol and Dominique from White, Auguste (without his dog), and Valentine. Upon seeing the news, Kern is relieved.

DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Stanley Kubrick, 1964)

United States Air Force Brigadier General Jack D. Ripper is commander of Burpelson Air Force Base, which houses the 843rd Bomb Wing, flying B-52 bombers armed with hydrogen bombs. The planes are on airborne alert two hours from their targets inside the USSR. General Ripper orders his executive officer, Group Captain Lionel Mandrake (an exchange officer from the Royal Air Force), to put the base on alert, confiscate all privately owned radios from base personnel and issue "Wing Attack Plan R" to the patrolling bombers. All the aircraft commence attack flights on the USSR and set their radios to allow communications only through their CRM 114 discriminators, which are designed to accept only communications preceded by a secret three-letter code known only to General Ripper. Happening upon a radio that had been missed earlier and hearing normal civilian broadcasting, Mandrake realizes that no attack order has been issued by the Pentagon and tries to stop Ripper, who locks them both in his office. Ripper tells Mandrake that he believes the Soviets have been fluoridating American water supplies to pollute the "precious bodily fluids" of Americans. Mandrake realizes Ripper has become insane. In the War Room at the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers about how "Plan R" enables a senior officer to launch a retaliatory nuclear attack on the Soviets if all superiors have been killed in a first strike on the United States. It would take two days to try every CRM code combination to issue a recall order, so Muffley orders the U.S. Army to storm the base and arrest General Ripper. Turgidson, noting the slim odds of recalling the planes in time, then proposes that Muffley not only let the attack continue but send reinforcements. According to an unofficial study, this would result in "modest and acceptable civilian casualties" from the "badly damaged and uncoordinated" Soviet military that would remain after the initial attack. Muffley refuses this plan and instead brings Soviet ambassador Alexei de Sadeski into the War Room to telephone Soviet Premier Dimitri Kissov on the "hotline". Muffley warns the Premier of the impending attack and offers to reveal the targets, flight plans and defensive systems of the bombers so that the Soviets can protect themselves. After a heated discussion with the Premier, the ambassador informs President Muffley that the Soviet Union created a doomsday machine as a nuclear deterrent; it consists of many buried bombs jacketed with "cobalt-thorium G", which are set to detonate automatically should any nuclear attack strike the country. The resulting nuclear fallout would then engulf the planet for 93 years, rendering the Earth's surface uninhabitable. The device cannot be deactivated, as it is programmed to explode if any such attempt is made. The President's wheelchair-using scientific advisor, former German Nazi Dr. Strangelove, points out that such a doomsday machine would only be an effective deterrent if everyone knew about it; Alexei replies that the Soviet Premier had planned to reveal its existence to the world the following week at the Party Congress. U.S. Army troops arrive at Burpelson and battle with the garrison. After General Ripper commits suicide, Mandrake identifies Ripper's CRM code from his desk blotter and relays it to the Pentagon. Using the code, Strategic Air Command successfully recalls all of the bombers except for one, commanded by Major T. J. "King" Kong, due to the radio equipment being damaged in a missile attack. The Soviets attempt to find it, but Kong has the bomber attack a closer target due to dwindling fuel. As the plane approaches the new target, a Soviet ICBM site, the crew is unable to open the damaged bomb bay doors. Kong enters the bay and repairs the electrical wiring while straddling an H-bomb, whereupon the doors open and the bomb is dropped. Kong joyously hoots and waves his cowboy hat as he rides the falling bomb to his death. Back in the War Room, Dr. Strangelove recommends that the President gather several hundred thousand people to live in deep underground mines where the radiation will not penetrate. He suggests a 10:1 female-to-male ratio for a breeding program to repopulate the Earth once the radiation has subsided, a plan which gathers enthusiastic support from the all-male command staff. Worried that the Soviets will do the same, Turgidson warns about a "mineshaft gap" while Alexei secretly photographs the War Room. Dr. Strangelove declares he has a plan, then suddenly rises from his wheelchair and exclaims, "Mein Führer, I can walk!" The film cuts to a montage of nuclear explosions, accompanied by Vera Lynn's rendition of the song "We'll Meet Again".

PYAASA (Guru Dutt, 1957)

Vijay is an unsuccessful, idealistic Urdu poet in Calcutta whose works are not taken seriously by publishers.[8] They condemn Vijay for writing on social problems such as unemployment and poverty, rather than those on conventional romantic topics. His brothers also dislike his occupation, trying to sell his poems as waste paper. Unable to bear their taunting, he stays away from home and, beside that, find the poems his brother has sold. Around this time, Vijay encounters a prostitute named Gulabo, who buys and is enamoured with his works and, consequently, falls for him, and his former girlfriend Meena; he finds out that the latter has married the publisher Ghosh due to financial security. Ghosh hires him as a servant to find out more about him and Meena. A dead beggar to whom Vijay gave his coat and whom he tries to save unsuccessfully from the path of a running train is mistaken for Vijay. Gulabo goes to Ghosh and gets his poems published. Ghosh does so feeling he can exploit the poems and make a killing. The poems are very successful. However, Vijay is alive and in the hospital after the train mishap. Ghosh and Shyam, Vijay's close friend, refuse to recognise him and he is committed to a mental asylum since he insists that he is Vijay and is thought to be mad. Vijay's brothers too are bought off by Ghosh not to recognise him and a memorial is held for the dead poet. Vijay, with the help of his friend Abdul Sattar escapes from the mental asylum and reaches the memorial service, where he denounces this corrupt and materialistic world. Seeing that Vijay is alive, his friend and brothers side with a rival publisher for more money and declare that this is Vijay. At a function to honour him, Vijay becomes sick of all the hypocrisy in the world around him and declares he is not Vijay. He then leaves with Gulabo to start a new life.

ACCATTONE (Pier Paolo Pasolini, 1961)

Vittorio, nicknamed "Accattone", leads a mostly serene life as a pimp in the outskirts of Rome until his prostitute, Maddalena, is hurt by a rivaling gang and sent to prison for false testimony. Finding himself without either a steady income or much inclination for working himself, he first tries to reconcile with the estranged mother of his child, but is driven away by her relatives. He meets simple working girl Stella and tries to lure her into prostituting herself for him. She is willing to try, but when her first client begins pawing her she cries and is thrown out of his car. Accattone tries to support them both as an iron worker, but gives up after one day. Following a dream of his own death, he goes stealing with a couple of friends and gets killed in a traffic accident when he tries to evade the police on a stolen motorcycle.

HIS GIRL FRIDAY (Howard Hawks, 1940)

Walter Burns, the hard-boiled editor for The Morning Post, learns his ex-wife and former star reporter, Hildegard "Hildy" Johnson, is about to marry insurance man Bruce Baldwin and settle down as a housewife in Albany. Walter, determined to sabotage these plans, entices a reluctant Hildy to cover one last story: the upcoming execution of Earl Williams, a shy bookkeeper convicted of murdering a policeman. Hildy agrees on the condition that Walter buy a $100,000 life insurance policy from Bruce so he can receive a $1,000 commission. In the meantime, she bribes the warden to let her interview Williams in jail. Williams says he shot the police officer by accident. Walter does everything he can to keep Hildy from leaving, first accusing Bruce of stealing a watch, forcing Hildy to bail him out of jail. Exasperated, Hildy quits, but when Williams escapes, her journalistic instincts take over. Walter frames Bruce again, and he is immediately sent back to jail. Hildy realizes that Walter is behind the shenanigans, but she prioritizes covering the rapidly escalating Williams story over bailing Bruce out again. Williams sneaks into the deserted press room and holds Hildy at gunpoint; the lure of a big scoop proves too tempting for her to resist. Williams's friend Mollie comes looking for him. When the other reporters return, Hildy hides the fugitive in a rolltop desk. Mrs. Baldwin, Hildy's future mother-in-law, enters and berates her for the way she is treating Bruce. Upon being harassed for Williams's whereabouts by the reporters, Mollie jumps out of the window to escape. The reporters rush out, saving Williams from being found. Walter arrives and has his henchman Louie kidnap Mrs. Baldwin. Bruce comes into the press room, having wired Albany for his bail and asking for his mother's whereabouts. Hildy is so consumed with writing the story that she hardly notices; Bruce realizes his cause is hopeless and leaves. A disheveled Louie returns, revealing that he had hit a police car while driving away with Mrs. Baldwin and is unsure if she survived in the accident. Meanwhile, the crooked mayor and sheriff need the publicity from the execution to keep their jobs in an upcoming election, so when a messenger brings them a reprieve from the governor, they try to bribe the man to go away and return later, after it is too late. After Williams is discovered in the desk, Walter and Hildy are handcuffed by the sheriff. However, the messenger returns with the reprieve, just in time to save Williams from the gallows. Walter uses the messenger's statements to blackmail the mayor and sheriff into releasing him and Hildy. Hildy receives a call from Bruce, again in jail because of counterfeit money that was unknowingly transferred to him by Hildy from Walter. Hildy breaks down and admits to Walter that she was afraid that he was going to let her marry Bruce without a fight. After bailing Bruce out of jail again, Walter asks Hildy to remarry him and promises to take her on the honeymoon they never had in Niagara Falls. Then Walter learns that there is a strike in Albany, which is on the way to Niagara Falls. Hildy agrees to honeymoon in Albany, accepting that Walter will never change.

WANDA (Barbara Loden, 1970)

Wanda Goronski, an unhappy housewife in rural eastern Pennsylvania, stays on her sister's couch after leaving her husband. Walking across a field of coal and hitching a ride, she shows up to a divorce court hearing late, relinquishes her rights to her children and grants her husband a divorce. After being terminated from her job at a sewing factory, Wanda runs away with a man with whom she has a one-night stand, only for him to abandon her at an ice cream shop. Nearly penniless, Wanda takes a nap in a movie theater, where she is robbed in her sleep. Going to a bar to use the restroom, she desperately clings to an older man she thinks to be the bartender. The man, Norman Dennis, is a criminal in the process of robbing the bar. Unable to rid himself of Wanda, he takes her on the run with him. Even after learning the details of his lifestyle, Wanda decides to stay with Norman, whom she calls "Mr. Dennis." Wanda spends some time on the road with Norman, and he becomes physically and emotionally abusive to her. He sends her shopping in a mall for new clothes while he robs cars in the parking lot. They subsequently visit the Holy Land USA theme park, where Norman meets with his Evangelical Christian father, to whom he shows courtesy and respect. After, Norman convinces Wanda to be his lookout for a kidnapping and bank robbery. The robbery goes awry, and Norman is shot and killed in the lobby. Wanda arrives late, and watches from the street as police descend and onlookers observe the scene. Alone again, Wanda hitches a ride with a man who attempts to sexually assault her. She escapes and runs through the woods. At nightfall, Wanda arrives at a backwoods roadhouse, where strangers supply her with food, alcohol, and cigarettes.

WAVELENGTH (Michael Snow, 1967)

Wavelength consists of almost no action, and what action does occur is largely elided. If the film could be said to have a conventional plot, this would presumably refer to the four "character" scenes. Snow's intent was "a summation of my nervous system, religious inklings and aesthetic ideas". The 45-minute-long zoom-which nonetheless contains edits-that incorporates in its time frame four human events in the room, including a man's death and a woman calling emergency later on, is intended to be symbolic of his intent.[8] In the first scene, a woman in a fur coat enters the room accompanied by two men carrying a bookshelf or cabinet. The woman instructs the men where to place this piece of furniture and they all leave. Later, the same woman returns with a female friend. They drink the beverages they have brought, and turn on the radio, which plays "Strawberry Fields Forever" by the Beatles. Long after they leave, what sounds like breaking glass is heard. At this point, a man (Hollis Frampton) enters and inexplicably, although in a way to indicate his death, collapses on the floor. Later on, the woman in the fur coat reappears and makes an emergency phone call, speaking, with strange calm, about the dead man in her apartment whom she has never seen before. Around the end, one can hear what sound like police sirens, but could just as well be a part of the musical score, a distinct piece of minimalist music that pairs tones at random. These tones shift in frequency (and in "wavelength"), becoming higher-pitched as the camera further analyzes the space of the anonymous apartment. What begins as a view of the full apartment zooms (the zoom is not precisely continuous as the camera does change angle slightly, noticeably near the very end) and changes focus slowly across the forty-five minutes, only to stop and come into perfect focus on a photograph of the sea on the wall. The film ends with the camera going completely out of focus and fading to white, as the soundtrack finally raises to a pitch too high to be heard.

OUT 1 (Jacques Rivette, 1971)

When asked why the film is called Out 1, Rivette responded, "I chose 'Out' as the opposite of the vogue word 'in', which had caught on in France and which I thought was silly. The action of the film is rather like a serial which could continue through several episodes, so I gave it the number 'One'." From the starting image of a small group of actors lying down with their legs bent back toward themselves, Rivette again focuses his film on rehearsals for a play, a motif present in both L'amour fou and his debut feature Paris nous appartient (1960); in particular, he extends L'amour fou's relentless reportage-style examination of the continual development of a play under rehearsal (in that case Jean Racine's Andromaque) and its effects on the director and his wife. In the case of Out 1, the two main anchors of the film are two different theater groups each rehearsing a different Aeschylus play (Seven Against Thebes and Prometheus Bound), and the film does not particularly privilege any character within these groups more than any other. External to these two groups, two outsiders peripheral to the theater are featured: Colin (Jean-Pierre Léaud), a young man who believes that there may be a real-life Thirteen group in operation, and Frédérique (Juliet Berto), a young swindler who happens to steal letters which may prove to be communication between members of the Thirteen. Other featured characters include Emilie (Bulle Ogier), who runs a local hangout under the name Pauline and whose husband, Igor, has been missing for six months. Michael Lonsdale plays Thomas, the director of the Prometheus Bound group, and there are cameos by directors Barbet Schroeder and Éric Rohmer, who plays a Balzac professor in a scene of both plot exposition and comic relief. The first few hours of the film alternate between documentary-style scenes observing the two troupes' rehearsals, Colin soliciting money from café patrons as a deaf man by playing irritating harmonica tunes, and Frédérique stealing money through a variety of deceptions. The plot gradually develops when Colin receives three mysterious messages in quick succession containing cryptic references to "the Thirteen" and to Lewis Carroll's The Hunting of the Snark. He quickly connects this to Balzac and begins a quixotic quest to uncover what the messages mean and who the Thirteen are. Sometime afterward, Frédérique casually interrupts a businessman, Etienne, playing chess against himself at home; when she has the room to herself briefly, she attempts to locate a stash of money but instead steals a collection of letters. Sensing that they refer to some sort of secret society, she attempts to sell them to several of the correspondents in exchange for either money or more information on the group, but fails to gain any information. Only Emilie buys the letters, but only because they refer to her husband. The Seven Against Thebes production takes on a newcomer, Renaud, to assist in the production, but he quickly begins to take over more and more of the creative direction of the piece from Lili, who recedes into the background in disgust. Their fortunes appear high when Quentin wins a million francs at the races, but during the ensemble's celebration, Renaud steals all the cash; the production is cancelled, and the members undertake a futile search for Renaud, spreading out all across Paris with a photo of him to try to discover his whereabouts. Thomas brings in old friend Sarah to help work through a creative block on Prometheus Bound, but she instead causes a rift within the group and the play is abandoned after another player leaves for unrelated reasons. It turns out that Thomas's block was largely due to his break-up with Lili after being with her personally and professionally for seven years. Thomas also is revealed to be a key member of the Thirteen, although the group never really was fully functional and had agreed to go into a period of dormancy two years earlier. Ironically, a chance encounter between Colin and Thomas motivates the latter to suggest reviving the Thirteen to Etienne, who is reluctant because the group never really did anything to begin with. One of the main correspondents in Etienne's letters, Pierre, is frequently discussed but never seen, and is described alternately as sinister and childlike. After reading the contents of the letters sold to her by Frédérique, Emilie prepares packages to be sent to major Parisian newspapers containing photocopies of these letters and purporting to disclose the existence of a scandal involving Pierre setting up Igor. Since Pierre and Igor are both members of the Thirteen, members of the group are forced to reconstitute to prevent the disclosure, and Thomas, Etienne and the ruthless lawyer Lucie de Graffe (Françoise Fabian) meet to discuss what to do. Frédérique eventually meets up with the young man that her gay friend Honey Moon (Michel Berto) is infatuated with, who turns out to be Renaud; the two become married in a blood ritual, but she suspects that he may be a member of another secret society even more sinister than the Thirteen. After seeing him associate with a local gang, she draws a gun on him, but warns him - causing him to turn around and shoot instantly, killing her. Colin gives up on the idea of the Thirteen, while it is quietly suggested during a discussion between two other members of the Thirteen, Lucie de Graffe and the cynical professor named Warok (Jean Bouise), that perhaps Pierre was the author of the messages to Colin and has been the invisible hand behind much of the plot, because he misses the Thirteen and wants to either restore it or replace it with young blood like Colin. Several of the characters retreat in the end to Emilie's small seaside house in Normandy called "the Obade" (another Balzacian reference, see "Ferragus"), where she breaks down in front of Sarah, confessing her love for Colin (who had been courting her earlier) and Igor at the same time. Her dilemma is solved at the end, when she receives a call from Igor telling her to meet him in Paris. She and Lili set off for Paris. Thomas remains behind on the beach at the Obade with two of his actors and has a drunken hysterical episode there, when he pretends to collapse on the sand. His actors are worried and frantically try to revive him. When he reveals his jest, they walk away in disgust and get in the car to go back to Paris. Thomas is left alone on the beach, crying and laughing at the same time, stranded at the Obade and, for the first time in the film, part of no group whatsoever. The film then quickly cuts to a completely unrelated shot of Marie, an actress from the Thebes group, who still seems to be searching for the missing Renaud and the money he stole. A golden statue of a Greek goddess, perhaps Athena, towers above her. The shot is held for a second before fading out.

SIMON OF THE DESERT (Luis Buñuel, 1965)

When the ascetic Simón has spent six years, six weeks, and six days on a small platform atop an approximately ten-foot-tall pillar in the middle of the desert, a crowd of monks and peasants gathers around him and invites him to move to a much taller pillar that has been erected by a wealthy family to thank him for healing one of them. Peasants call out for his help as he is led the short distance to the new pillar, and his aging mother approaches and says she wishes to be near him until her death. He allows her to stay, though he says he will not acknowledge her so she does not distract him from his prayers. The monks attempt to bestow holy orders on Simón, but he refuses, saying he is an unworthy sinner. Once atop his new pillar, Simón leads the crowd below in the Lord's Prayer, but a woman interrupts to ask him to help her husband, whose hands were cut off for stealing. Simón prays and the man's hands reappear, but neither the man, nor anyone else, is very impressed by the miracle, and the peasants depart. The monks stay behind to pray with Simón, but leave after he chastises one of them for looking at a woman who walks by carrying a jug, leaving Simón and his mother alone in the desert. Brother Matías, a young monk, delivers lettuce and water to Simón, interrupting his prayers. Simón becomes frustrated after Matías leaves, as he had managed to forget his body, but now he is hungry and thirsty and yearns to feel the earth and embrace his mother. Just then, The Devil, who was also the woman with the jug, appears to Simón dressed like a young girl from a future time. She tries to tempt him with her body and jabs him in the back, but he banishes her by appealing to Christ. One day, while Simón is leading the gathered monks in a prayer about asceticism, Brother Trifón interrupts to say he has found cheese, bread, and wine in Simón's food sack. Simón refuses to defend himself, and Trifón swears he did not place the food in the bag, so the monks pray to the Holy Ghost to show them who is guilty. Trifón has a fit, during which he admits to planting the food and rants against Simón and the teachings of the Church, and Simón exorcises Satan from him. As the other monks are carrying Trifón back to the monastery, Simón tells them to send Matías away until he can grow a beard, as he is too young to be so near the temptations of the Devil. When he has been atop the column for eight years, eight months, and eight days, Satan comes to Simón dressed as God. She flatters him, and he is initially fooled, but he sees through the ruse when she says she is saddened by his excessive sacrifices and tells him to come down and experience earthly pleasures if he wants to get close to God. He rejects her and she leaves, after which Simón decides that, as penance for mistaking the Devil for God, he will henceforth stand on one leg. The monk who looked at the woman visits Simón for his forgiveness and blessing and to tell him that the Antichrist is approaching Rome with an army. He remarks that mankind will always be in conflict because of its ideas about ownership, and, when Simón cannot understand, says he fears Simón has become disconnected from and of little use to the outside world. Simon blesses the monk and he leaves. A coffin slides across the desert toward Simón's pillar. Satan gets out and transports Simón to a crowded 1960s nightclub with a live instrumental rock band on stage. The pair are in modern dress and sitting at a table, and Simón, looking disinterested, asks Satan what dance the people are doing. She responds that the energetic dance is called "Radioactive Flesh". A man asks Satan to join him, and Simón gets up to return home, but Satan says he has to "stick it out till the end."

THE GENERAL (Buster Keaton & Clyde Bruckman, 1926)

When Western & Atlantic Railroad train engineer Johnnie Gray arrives in Marietta, Georgia, he visits the home of Annabelle Lee, one of the two loves of his life, the other being his locomotive, The General. News arrives that the American Civil War has broken out, and Annabelle's brother and father rush to enlist in the Confederate Army. To please Annabelle, Johnnie hurries to be first in line to enlist, but is rejected because he is more valuable as an engineer, although he is not told that reason. On leaving, he runs into Annabelle's father and brother, who beckon to him to join them in line, but he walks away, leaving them with the impression that he does not want to enlist. Annabelle informs Johnnie that she will not speak to him again until he is in uniform. A year passes, and Annabelle receives word that her father has been wounded. She travels north on the W&ARR to see him, with The General pulling the train. When it makes a stop, the passengers and crew detrain for a quick meal. As previously planned, Union spies led by Captain Anderson use the opportunity to steal the train. Anderson's objective is to burn all the railroad bridges he passes, thus preventing reinforcement and resupply of the Confederate army. Annabelle, who returned to a baggage car, becomes an inadvertent prisoner of the raiders. Johnnie gives chase, first on foot, then by handcar and boneshaker bicycle, before reaching the station at Kingston. He alerts the army detachment there, which boards another train to give chase, with Johnnie manning the locomotive the Texas. However, the flatcars are not hooked up to the engine and the troops are left behind. By the time Johnnie realizes he is alone, it is too late to turn back. The Union agents try various methods to shake their pursuer, including disconnecting their trailing car and dropping railroad ties on the tracks. As the chase continues northward, the Confederate Army of Tennessee is ordered to retreat and the Northern army advances in its wake. Johnnie finally notices he is now behind Union lines, and the hijackers see that Johnnie is by himself. Johnnie stops the Texas and runs into the forest to hide just as a downpour develops. At nightfall, Johnnie climbs through the window of a house to steal some food, but hides underneath a table when some Union officers enter. He overhears their plan for a surprise attack and that the Rock River Bridge is essential for their supporting supply trains. He then sees Annabelle brought in; she is taken to a room under guard while they decide what to do with her. Johnnie manages to knock out both guards and free Annabelle. They escape into the rainy woods. As day breaks, Johnnie and Annabelle find themselves near a railway station where Union soldiers and equipment are being organized for the attack. Seeing The General, Johnnie devises a plan to warn the South. After sneaking Annabelle onto a boxcar, Johnnie steals his engine back. Two Union trains, including the Texas, set out after the pair, while the Union attack is launched. In a reversal of the first chase, Johnnie now has to fend off his pursuers. Finally, he starts a fire behind The General in the center of the Rock River Bridge, to cut off the Union's important supply line. Reaching friendly lines, Johnnie warns the Confederate commander of the impending attack and their forces rush to meet the enemy. Meanwhile, Annabelle is reunited with her convalescing father. The pursuing Texas drives onto the burning bridge, which collapses. When Union soldiers try to ford the river, Confederate fire drives them back. Afterward, Johnnie returns to his locomotive to find the Union officer whom he had knocked out in escaping earlier has now regained consciousness. He takes the officer prisoner and is spotted by the Confederate general. As a reward for his bravery, he is commissioned a lieutenant and given the captured officer's sword. Returning to The General with Annabelle, he tries to kiss her, but has to repeatedly return the salutes of troops walking past. Johnnie finally uses his left hand to embrace Annabelle while using his right to salute the passing soldiers.

STEAMBOAT BILL, JR. (Buster Keaton & Charles Reisner, 1928)

William "Steamboat Bill" Canfield is the owner and captain of a paddle steamer, the Stonewall Jackson, that has seen better days. The King, a new steamer owned by J J King, is stealing all his customers. King also owns the local bank and the town hotel. At a well-attended launch party, he belittles the Stonewall Jackson. Canfield receives a telegram saying his son is arriving on the 10 am train, having finished his studies in Boston. Canfield has not seen him for many years. King's daughter Kitty arrives home from college to visit him. She drives a swanky car. Canfield waits at the train station, expecting a big, husky man like himself to get off. He inspects all men getting off, but none wear a white carnation which Bill Jr. said he would wear. Bill Jr. got off on the wrong side. He then goes down the platform pointing his carnation at everyone in turn. Canfield and his assistant have given up when they read a luggage tag on a bag reading "William Canfield Jr, Boston". They have found the right man. Canfield is deeply disappointed with his slight, awkward son, who shows up wearing a foppish beret with a pencil moustache and a ukulele. He sends him to the barber to have the moustache removed, and there he bumps into Kitty, his friend from college. Father and son then go to the hat shop to choose a new hat. After much selection, Bill Jr.'s chosen hat blows off as soon as he leaves the shop, and he reverts to the beret. At the riverside, they meet King and his daughter. Canfield is embarrassed by his son and sends him to get some working clothes. He gets kitted out as a naval officer (which is not what Canfield wanted). Canfield's assistant quips "no jury would convict you". On board, Bill Jr. is awkward. He knocks off a life belt (which instantly sinks). He sees Kitty on the dock talking to a handsome officer off the King, but she runs off when taken onto the King and goes to the Stonewall Jackson instead...to see Bill Jr. Her dad orders her back. Bill Jr. ends up getting pushed to and fro between ships. Bill Jr. is sent to the engine room to see how the ship works. He pulls a lever and causes the ship to crash into the King. Both Canfield and King are determined to break up the relationship between Bill Jr. and Kitty, but Bill Jr. slips off and boards the King at night. As the ships are further apart than before, he uses a plank to cross. The King starts moving, but the plank does not fall as it is jammed on one side. Junior walks off the end of the plank. Bill Jr. decides to go back to Boston but changes his mind and rips up the ticket. When Canfield's ship is condemned as unsafe, he accuses King of orchestrating it. He assaults his enemy and is then put in jail. On a very wet and windy day, Bill Jr. tries to free his father by bringing him a huge loaf of bread with tools hidden inside, but Canfield refuses the bread, especially when Bill Jr. says he made it himself. Bill Jr. tries to signal to Canfield what the plan is, and Canfield then says he wants the bread. When the tools fall out, Bill Jr. says the dough fell in the tool chest. The sheriff gets knocked out and locked in the cell where Canfield was. Canfield runs off, but Bill Jr.'s pants get stuck in the cell door. He accidentally releases the sheriff, who hits him on the head with his revolver, sending him to the hospital. A cyclone hits, tearing down buildings and endangering the ships. A pier collapses, and the King breaks loose. The King Hotel collapses. The walls disappear from the hospital leaving Bill Jr. exposed. As he makes his way through the town, a building front falls all around him as an unbroken facade, and Bill Jr. fits through the open window (an infamous stunt). Several buildings collapse dangerously close to him. He is blown in the air clinging to a tree and lands in the river. The jail blows off its foundations and starts to sink. He reaches his father's ship and a house floats by with Kitty on its side. He rescues Kitty with her full weight hanging as he crosses on a rope, then he sees his father floating down in the jail which is sinking lower and lower. He devises a set of ropes to pull the power lever downstairs while he steers and rams the ship into the sinking jail, splitting it open to release his father. They see Kitty's father, who is in the river after his boat has sunk. Bill Jr. ties himself to a rope and dives in to rescue him. Kitty goes to her hero and is puzzled when he jumps into the water. However, his purpose becomes clear when he returns, towing a minister in a lifebelt.

THE KID (Charles Chaplin, 1921)

With much anguish, an unwed Mother abandons her child, placing him in an expensive automobile with a handwritten note: "Please love and care for this orphan child". Two thieves steal the car and leave the baby in an alley, where he is found by The Tramp. After some attempts to hand off the child on to various passers-by, he finds the note and his heart melts. He takes the boy home, names him John and adjusts his household furniture for him. Meanwhile, the Mother has a change of heart and returns for her baby; when she learns that the car has been stolen, she faints. Five years pass. The Kid and the Tramp live in the same tiny room; they have little money but much love. They support themselves in a minor scheme: the Kid throws stones to break windows so that the Tramp, working as a glazier, can be paid to repair them. Meanwhile, the Mother has become a wealthy actress and does charity by giving presents to poor children. By chance, as she does so, the Mother and the Kid unknowingly cross paths. The Kid later gets into a fight with another local boy as people in the area gather to watch the spectacle. The Kid wins, drawing the ire of the other boy's older brother, who attacks the Tramp as a result. The Mother breaks up the fight, but it starts again after she leaves and the Tramp keeps beating the "Big Brother" over the head with a brick between swings until he totters away. Shortly afterward, the Mother advises the Tramp to call a doctor after the Kid falls ill. The doctor discovers that the Tramp is not the Kid's father and notifies authorities. Two men come to take the boy to an orphanage, but after a fight and a chase, the Tramp and the boy remain side by side. When the Mother comes back to see how the boy is doing she encounters the doctor, who shows her the note (which he had taken from the Tramp); she recognizes it as the one she left with her baby years ago. Now fugitives, the Tramp and the boy spend the night in a flophouse. Its proprietor learns of a $1,000 reward offered by the authorities and takes the Kid to the police station, while the Tramp is asleep. As the tearful Mother is reunited with her long-lost child, the Tramp searches frantically for the missing boy. Unsuccessful, he returns to the doorway of their humble lodgings, where he falls asleep, entering a "Dreamland" where his neighbors have turned into angels and devils. A policeman awakes him and drives him off to a mansion. There the door is opened by the Mother and the Kid, who jumps into the Tramp's arms, and he is welcomed in.

MAD MAX: FURY ROAD (George Miller, 2015)

With the world a desert wasteland following societal collapse and warfare over resources, a survivor named Max Rockatansky, who is haunted by memories of all the people he has failed to protect, is captured and taken to warlord Immortan Joe's Citadel, where he is imprisoned and used as a "blood bag" for Nux, a sick War Boy. Meanwhile, Imperator Furiosa, one of Joe's lieutenants, is sent in the armoured "War Rig" to trade produce for petrol and ammunition with two of Joe's allies. When Joe realises his five wives are fleeing in the Rig, he leads his army in pursuit of Furiosa, calling on the aid of Gas Town and the Bullet Farm. Nux joins the pursuit with Max strapped to his car, and a battle ensues. Furiosa drives into a sand storm and loses all of her pursuers, except Nux, who attempts to sacrifice himself to blow up the Rig. Max frees himself and restrains Nux, and Furiosa destroys their car. After the storm, Max finds Furiosa repairing the Rig, accompanied by Joe's wives: Toast, Capable, the Dag, Cheedo, and Angharad, the last of whom is heavily pregnant with Joe's child. Max tries to steal the Rig, but he does not know the code to bypass the kill switches, so he begrudgingly joins up with Furiosa and the wives. Nux boards the Rig as it leaves and attempts to kill Furiosa. He is overcome and thrown out, and Joe's army picks him up when they pass by. Furiosa drives through a canyon controlled by a biker gang, having arranged to trade fuel for her safe passage, but the gang turns on her when they spot an army approaching, forcing her to flee. The bikers detonate the canyon walls to block Joe and then pursue the Rig, only stopping when the fuel pod explodes. Joe drives over the blockade in a monster truck and catches up with the Rig, allowing Nux to board and attack Furiosa again, but he trips before reaching the cab. While helping Max, Angharad falls off the Rig and is fatally run over by Joe, who temporarily halts his pursuit. Capable finds Nux hiding in the Rig and consoles him as he laments his failure. After dark, Furiosa and Max slow Joe's forces with mines set in swampland, but Joe's ally, the Bullet Farmer, continues to pursue. The Rig gets stuck, and Nux emerges from hiding to help free it, joining the crew. Furiosa blinds the approaching Bullet Farmer, and Max confronts him and returns with guns and ammunition. In the morning, Furiosa explains to Max that the "Green Place" to which they are escaping is an idyllic land she remembers from her childhood. She recognises a familiar landmark and shouts out her history and clan affiliation to a woman on top. The woman summons her all-female clan, the Vuvalini, who recognise Furiosa as one of their own who was kidnapped as a child. Furiosa is devastated to learn that the swampland from the previous night was the Green Place, which is now uninhabitable, and there are only seven Vuvalini left. The group, less Max, begins to ride across an immense salt flat, hoping to find a new home. After seeing a vision of a child he failed to save,[13][14] Max catches up and convinces the others to return the way they came and take the undefended Citadel, which has ample water and crops. They meet Joe's forces and engage in battle. Five Vuvalini and many members of Joe's forces are killed, and Toast is captured. As they approach the canyon, Joe gets in front of the Rig to slow it. While Max fights Joe's large adult son, Rictus Erectus, Furiosa, though seriously wounded, goes to save Toast and kills Joe. The surviving brides and Vuvalini cross over to Joe's vehicle, and Nux sacrifices himself by wrecking the Rig to block the canyon, killing Rictus. Max transfuses his blood to Furiosa, saving her life. Back at the Citadel, the people rejoice upon learning of Joe's death and tear his corpse to pieces. As Max's companions are lifted in triumph to Joe's cliffside fortress, Max exchanges a glance with Furiosa and disappears into the crowd.

MIDNIGHT COWBOY (John Schlesinger, 1969)

Young Texan Joe Buck quits his dishwasher job and heads by bus to New York City in cowboy attire to become a male prostitute. Initially unsuccessful, he finally beds a middle-aged woman, Cass, in her Park Avenue apartment. She is insulted when he requests payment and he ultimately gives her money, implying she is a high-class prostitute herself. Joe meets Rico "Ratso" Rizzo, a con man with a limp who takes $20 for introducing him to a pimp. After discovering that the alleged pimp is actually an unhinged religious fanatic, Joe flees unsuccessfully in pursuit of Rico. Joe spends his days wandering the city listening to his Zenith portable radio and sitting in his hotel room. Soon broke, management locks him out and impounds his belongings. Joe tries to make money by receiving oral sex from a young man in a movie theater, but the man cannot pay. Joe threatens him, but releases him unharmed. The next day, Joe spots Rico and angrily confronts him. When Rico offers to share his apartment squat in a condemned building, Joe reluctantly accepts, and they begin a "business relationship" as hustlers. Rico asks Joe to refer to him as "Rico" instead of "Ratso", but Joe does not oblige. They struggle with severe poverty, stealing food and failing to get Joe work. Joe must pawn his radio, while Rico's health steadily worsens during winter without heat. In intermittent flashbacks, Joe's grandmother raises him after his mother abandons him. He has a tragic relationship with Annie, disclosed through flashbacks in which they are attacked and raped by a cowboy gang in a parked car. Annie shows signs of mental trauma and is later escorted into an ambulance. Rico tells Joe his father was an illiterate Italian immigrant shoeshiner whose job yielded a bad back and lung damage from shoe polish exposure. Rico learned shoe-shining from his father but considers it degrading and generally refuses to do it. When he breaks into a stand and shines Joe's cowboy boots to attract clients, two police officers arrive and sit with their dirty boots next to Joe's. Rico dreams of escaping to Miami, shown in fantasies in which he and Joe frolic on a beach and are pampered at a resort, including a boy polishing Rico's boots. A Warhol-like filmmaker and an extrovert female artist approach Joe in a diner, taking his Polaroid photograph and inviting him to a Warhol-esque art event (which incorporates actual Warhol superstars Viva, Ultra Violet, Taylor Mead, Joe Dallesandro, and filmmaker Paul Morrissey[6]). Joe and Rico attend, but Rico's poor health and hygiene attract unwanted attention. After mistaking a joint for a cigarette and receiving uppers, Joe hallucinates. He leaves with Shirley, a socialite who pays him $20 for spending the night, but Joe cannot perform sexually. They play Scribbage and the resulting word play leads Shirley to suggest that Joe may be gay; suddenly he is able to perform. The next morning, she sets up her female friend as Joe's client and his career appears to be progressing. When Joe returns home, Rico is bedridden and feverish. He refuses medical help and begs Joe to put him on a bus to Florida. Desperate, Joe attempts to get money by picking up a man in an arcade. He robs the man during a violent encounter in the man's hotel room, brutally beating and apparently smothering him. Joe buys two bus tickets to Florida with the stolen money. Rico again tells Joe that he wants to be called "Rico", not "Ratso", and Joe begins to oblige. During the trip, Rico's health deteriorates further as he becomes incontinent and sweat-drenched. At a rest stop, Joe buys new clothing for Rico and himself and discards his cowboy outfit. On the bus, Joe muses that there must be easier careers than hustling, and tells Rico he will get a regular job in Florida. When Rico does not respond, Joe realizes he has died. The driver asks Joe to close Rico's eyelids, saying there is nothing they can do but continue to Miami. The other passengers stare. Teary-eyed, Joe sits with his arm around his friend as the bus reflects rows of Floridian palm trees.

A BRIGHTER SUMMER DAY (Edward Yang, 1991)

Zhang Zhen (nickname Si'r), a junior high student in 1959 Taipei, is forced to attend night school after failing a test. This upsets his father, a career government worker, who is aware of and worried about the delinquency rampant among night school students. The next morning, Si'r and his father listen to a radio broadcast of distinguished students. In 1960, Si'r, along with his best friend, Cat, spy on an actress changing clothes during the filming of a drama in a movie studio. Caught by a guard, they steal his flashlight and flee back to school. Si'r, noticing movement in a darkened classroom, turns on the flashlight and startles a pair of lovers but does not see their faces. Two gangs, the Little Park Boys and their rivals the 217s, are introduced. Si'r is not a member of either gang but he is closer to the Little Park Boys. The Little Park Boys are led by Honey, who is hiding in Tainan from police after killing one of the 217s over his girlfriend, Ming. Sly leads the gang in his absence. Sly and Si'r become rivals after Si'r gets Sly in trouble, believing him and his girlfriend, Jade, to be the pair of lovers he saw. Meanwhile, Si'r and Ming meet by chance and become friends. Sly proposes a truce, arranging a concert with members from both gangs. Honey unexpectedly resurfaces and berates Sly for setting up the concert; however, he realizes the gang respects Sly more. The night before the concert, Honey "bequeaths" Ming to Si'r, believing him to be a stable boyfriend. The next night, Honey appears outside of the concert hall, antagonizing the 217s. Honey takes an ostensibly friendly walk with the 217's leader, Shandong, only to be killed when Shandong pushes him in front of an oncoming car. The Little Park Boys do not believe police reports that it is an accident, and plot revenge; they murder the 217s, including Shandong, during a typhoon, using weapons acquired by Ma, one of Si'r's wealthy classmates. Sly and the surviving Little Park Boys go into hiding. The same night, Si'r's father is arrested by secret police and interrogated about his past connections with the Chinese Communist Party. While eventually freed, he is demoted. Si'r starts dating Ming and seems to be improving academically. However, she reveals her flirtations with other boys, including an older doctor, bothering Si'r. The next day, Si'r is expelled after lashing out at the doctor and smashing a light bulb. He promises to pass his transfer exams to get into day school, upsetting Ming, who knows this means she will see him less. Later, Sly emerges from hiding and apologizes to Si'r for their past feud and reveals that Ming and Ma are dating. Upset, Si'r begins dating Jade, but he upsets her and she bitterly reveals that the girl he saw kissing Sly was Ming, not her. After threatening Ma at his home, Si'r steals Cat's knife and waits outside the school for him. Instead, he sees Ming and berates her for her promiscuity, saying that he is her only hope. Ming chides Si'r for being selfish and trying to change her; like the world, she cannot be changed. He stabs her to death and breaks down. Si'r is sentenced to death but the media frenzy around the case provokes the sentence to be changed to 15 years imprisonment. In Si'r's now-barren house, his mother unexpectedly finds Si'r's school uniform. As she sobs, the radio broadcasts a list of distinguished students.

ZORNS LEMMA (Hollis Frampton, 1970)

he opening section of Zorns Lemma is roughly 5 minutes long. In it a woman reads an abecedary of 24 couplets from The Bay State Primer, an eighteenth century book designed to teach children the alphabet.[2] The film is entirely black during this section. A letter A stamped on tin foil, the first of 24 such letters shown at the beginning of the second section The film's main section is silent and lasts 45 minutes, broken into 2,700 one-second units. It shows the viewer a 24-part "alphabet" (i & j and u & v are interchanged) that slowly evolves. The section begins by presenting each letter typed on a sheet of tin foil.[2] The alphabet is initially composed of words that appear on street signs, photographed in Manhattan. As the film continues to cycle through the alphabet, individually filmed letters are slowly substituted with abstract moving images. The first four substitutions—fire (x), waves (z), smoke (q), and reeds (y)-depict the four classical elements, and by the end, it is fully composed of moving images which represent them.[3][4] The film's conclusion lasts 11 minutes. It shows a man, woman and dog walking through snow. Six women's voices alternate in reading the words of a passage from Robert Grosseteste's medieval document On Light, or the Ingression of Forms, which Frampton translated and edited for the film.[2] The voices read the text at a rate of one word per second.[5] As the film ends, it fades to white.[2]

TOUCH OF EVIL (Orson Welles, 1958)

Along the U.S.-Mexico border, a time bomb placed inside a vehicle explodes, killing Rudy Linnekar and his stripper girlfriend Zita. On his honeymoon with his American wife Susie, Mexican special prosecutor Miguel Vargas takes an interest in the investigation. Local authorities arrive on the scene, followed by 30-year police captain Hank Quinlan and his longtime assistant, Pete Menzies. Quinlan and Menzies implicate Sanchez, a young Mexican secretly married to the victim's daughter, Marcia, as the prime suspect. During the interrogation at Sanchez's apartment, Menzies locates two sticks of dynamite in the same shoebox that Vargas had found empty only a few minutes earlier. Vargas accuses Quinlan of planting evidence, and begins to suspect that he may have been doing so for years to help win convictions. Quinlan dismisses Vargas's claim, saying he is just biased in favor of fellow Mexicans. The stress of these accusations, along with pressure from "Uncle" Joe Grandi, the brother of a man Vargas has been investigating, to strike a deal to discredit Vargas, causes Quinlan—who has been sober for 12 years—to relapse. With assistance from the District Attorney's Assistant Al Schwartz, Vargas studies the public records on Quinlan's cases, revealing his findings to Gould and Adair. Quinlan arrives in time to overhear the discussion and angrily threatens to resign. Janet Leigh and Charlton Heston Meanwhile, Vargas sends his wife to a remote motel to remove her from the Grandis' unwanted attention. Unknown to him, the hotel is owned by Grandi. Grandi's family members terrorize Susie. Vargas becomes concerned when his attempts to telephone his wife at the motel are blocked. Per their agreement, Grandi arranges for Susie to appear unconscious from a drug overdose in a downtown motel, set up for Quinlan to "discover" her. Instead, Quinlan strangles Grandi there and leaves his corpse with Susie. When she wakes up, she screams for help but instead is arrested on suspicion of murder. Orson Welles as Hank Quinlan Vargas confronts Menzies about Quinlan's history of "discovering" incriminating evidence in his cases. He goes to Susie's motel but cannot find her, discovering both that the motel is owned by Grandi and that his handgun has been stolen. He rushes back to town and enters a bar, where he confronts the gang members who attacked his wife. When they refuse to answer his questions, Vargas attacks them but is overwhelmed. Schwartz informs Vargas that Susie has been arrested for murder. At the lockup, Menzies reveals to Vargas that he discovered Quinlan's cane at the murder scene, implicating him. Menzies agrees to wear a wire for Vargas. Quinlan is at ex-lover Tana's brothel across the border. A loud player piano prevents recording, so Menzies lures Quinlan out. While they walk Vargas trails them, recording their conversation. Quinlan confesses to Menzies that he planted evidence on suspects, but just the "guilty" ones. Quinlan hears an echo from Vargas' tracking device and suspects Menzies of betrayal. Quinlan demands that Vargas show himself and then shoots Menzies. Just as Quinlan is prepared to shoot the unarmed Vargas, claiming he'll plead self-defense, Menzies shoots Quinlan, then expires. Schwartz arrives at the scene and tells Vargas that Sanchez had confessed to the crime, vindicating Quinlan. Vargas is reunited with Susie. Tana arrives and rues Quinlan's death.

THE APARTMENT (Billy Wilder, 1960)

C.C. "Bud" Baxter is a lonely office drudge at an insurance corporation in New York City. To climb the corporate ladder, he allows four company managers to take turns borrowing his Upper West Side apartment, 51 West 67th Street, for their extramarital affairs. Baxter meticulously juggles the "booking" schedule, but the steady stream of women convinces his neighbors that he is a playboy. Baxter solicits glowing performance reviews from the four managers and submits them to personnel director Jeff Sheldrake, who then promises to promote him - but Sheldrake also demands use of the apartment for his own affairs, beginning that night. As compensation for this short notice, he gives Baxter two theater tickets for that evening. Bud asks his secret crush, Fran Kubelik, an elevator operator in the office building, to join him. She agrees, but first meets up with a "former fling", who turns out to be Sheldrake. When Sheldrake dissuades her from breaking up with him, promising to divorce his wife, they head to Baxter's apartment, while Baxter waits outside the theater. During the company's raucous Christmas party, Sheldrake's secretary, Miss Olsen, tells Fran that her boss has had affairs with other female employees, including herself. Fran confronts Sheldrake at Baxter's apartment, but he claims he loves her, then heads back to his suburban family. Realizing that Fran is the woman Sheldrake has been taking to his apartment, Baxter lets himself be picked up by a married lady at a local bar. When they arrive at his apartment, he discovers Fran, passed out on his bed from an apparent suicidal overdose of sleeping pills. He ditches the woman from the bar and enlists Dr. Dreyfuss, a medical doctor living in the next-door apartment, to revive Fran. When Baxter makes Dreyfuss believe that he was the cause of the incident, Dreyfuss scolds him for philandering and advises him to "be a mensch." The following morning, Mrs. Dreyfuss brings breakfast over for Fran and pleads with her to make a lifestyle change and settle down. Mrs. Dreyfuss and Fran repeatedly point out the poor housekeeping in Baxter's bachelor pad, notably including the fact that he uses a tennis racket as spaghetti strainer in the kitchen. Dr. Dreyfuss recommended that Fran spends two days recuperating in the apartment, during which time she grows close to Baxter, especially after he confesses to his own suicide attempt over unrequited feelings for a woman who now sends him a fruitcake every Christmas. Fran says she has always suffered bad luck in her love life. As Baxter prepares a romantic dinner, one of the managers arrives for a tryst. Baxter persuades him and his companion to leave, but the manager recognizes Fran and informs his colleagues. Later confronted by Fran's brother-in-law, Karl Matuschka, who is looking for her, the jealous managers direct Karl to Baxter's apartment. Baxter and Fran were in the middle of eating meatballs and spaghetti, which Baxter had strained using the tennis racket, when Karl rings the doorbell and demands that Fran return home to her sister who is concerned about her. Baxter deflects the brother's-in-law anger over Fran's wayward behavior by once again assuming all responsibility. When Karl finds out about Fran's suicide attempt, he punches Baxter twice and knocking him to the floor. Fran reacts by kissing Baxter on the forehead for protecting her, exclaiming softly "Oh you fool, you damn fool." When Sheldrake learns that Miss Olsen tipped off Fran about his affairs, he fires her, but she retaliates by spilling all to Sheldrake's wife, who promptly throws her husband out. With no regrets for his behavior, Sheldrake believes that this situation just makes it easier to pursue Fran, although she hints that she is losing interest. Having promoted Baxter to an even higher position, which also gives him a key to the executive washroom, Sheldrake expects Baxter to loan out his apartment yet again for him and Fran. Baxter gives him back the washroom key instead, proclaiming that he has decided to become a mensch, and quits the firm, forbidding Sheldrake from ever bringing anyone to his apartment again, and "especially not Ms. Kubelik". He decides to move out of the apartment and begins to pack his belongings, including a handgun and the tennis racket. That night at a New Year's Eve party, Sheldrake indignantly tells Fran about Baxter quitting rather than let Sheldrake bring Ms. Kubelik to his apartment. Realizing her love for Baxter, Fran abandons Sheldrake and runs to the apartment. At the door, she hears an apparent gunshot. Fearing that Baxter has shot himself, she frantically pounds on the door. Baxter opens the door with a bottle of champagne in his hand, having just popped the cork. As they sit down to a game of cards, Fran reveals that she is on her own, like he is. When he asks about Sheldrake, she replies, "We'll send him a fruitcake every Christmas," prompting him to declare his love for her. She hands him the cards and affectionately tells him to "Shut up and deal".

CITY LIGHTS (Charles Chaplin, 1931)

Citizens and dignitaries are assembled for the unveiling of a new monument to "Peace and Prosperity". After droning speeches, the veil is lifted to reveal the Little Tramp asleep in the lap of one of the sculpted figures. After several minutes of slapstick, he manages to escape the assembly's wrath to perambulate the city. He rebukes two newsboys who taunt him for his shabbiness, and while coyly admiring a nude statue has a near-fatal encounter with a sidewalk elevator. The Tramp encounters the beautiful flower girl on a street corner and in the course of buying a flower realizes she is blind; he is instantly smitten. The girl mistakes the Tramp for a wealthy man when the door of a chauffeured automobile slams shut as he departs. That evening the Tramp saves a drunken millionaire from suicide. The millionaire takes the Tramp - his new best friend - back to his mansion for champagne, then (after another abortive suicide attempt) out for a night on the town. After helping the millionaire home the next morning, he sees the flower girl en route to her street-corner. He gets some money from the millionaire and catches up to the girl; he buys all her flowers and drives her home in the millionaire's car. After the Tramp leaves, the flower girl tells her grandmother (Florence Lee) about her kind and wealthy friend. Meanwhile, the Tramp returns to the mansion, where the millionaire - now sober - does not remember him and throws him out. Later that day, the millionaire is once again intoxicated and, seeing the Tramp on the street, invites him home for a lavish party. But the next morning history repeats itself: the millionaire is again sober and the Tramp is again out on his ear. Finding that the girl is not at her usual street-corner, the Tramp goes to her apartment, where he overhears a doctor tell the grandmother that the girl is very ill: "She has a fever and needs careful attention." Determined to help, the Tramp takes a job as a street sweeper. On his lunch break, he brings the girl groceries while her grandmother is out selling flowers. To entertain her he reads a newspaper aloud; in it is a story about a Viennese doctor's blindness cure. "Wonderful, then I'll be able to see you", says the girl - and the Tramp is struck by what may happen should she gain her sight and discover that he is not the wealthy man she imagines. He also finds an eviction notice the girl's grandmother has hidden. As he leaves, he promises the girl that he will pay the rent. The Tramp returns to work to find himself fired - he has been late once too often. A boxer convinces him to fight in a fake bout; they will "go easy" on each other and split the prize money. But the boxer flees on learning he is about to be arrested and is replaced by a no-nonsense fighter who knocks the Tramp out despite the Tramp's creative and nimble efforts to keep out of reach. The Tramp encounters the drunken millionaire a third time and is again invited to the mansion. The Tramp relates the girl's plight and the millionaire gives him money for her operation. Burglars knock the millionaire out and take the rest of his money. The police find the Tramp with the money given to him by the millionaire, who because of the knock on the head does not remember giving it. The Tramp evades the police long enough to get the money to the girl, telling her he will be going away for a time; in due course he is apprehended and imprisoned. Months later the Tramp is released. He goes to the girl's customary street corner but she is not there. We learn that the girl - her sight restored - now runs a busy flower shop with her grandmother. But she has not forgotten her mysterious benefactor, whom she imagines to be rich and handsome: when an elegant young man enters the shop she wonders for a moment whether "he" has returned. The Tramp happens by the shop, where the girl is arranging flowers in the window. He stoops to retrieve a flower discarded in the gutter. After a brief skirmish with his old nemeses, the newsboys, he turns to the shop's window through which he suddenly sees the girl, who has been watching him without (of course) knowing who he is. At the sight of her he is frozen for a few seconds, then breaks into a broad smile. The girl is flattered and giggles to her employee, "I've made a conquest!" Via pantomime through the glass she offers him a fresh flower (to replace the crushed one he took from the gutter) and a coin. Suddenly embarrassed, the Tramp begins to shuffle away, but the girl steps to the shop door and again offers the flower, which he shyly accepts. She takes his hand and presses the coin into it, then abruptly stops and her smile turns to a look of puzzlement as she recognizes the touch of his hand. She runs her fingers along his arm, his shoulder, his lapels, then gasps, "You?" The Tramp nods and asks, "You can see now?" The girl replies, "Yes, I can see now", and presses his hand to her heart with a tearful smile. Relieved and elated, the Tramp smiles back.

BLUE VELVET (David Lynch, 1986)

College student Jeffrey Beaumont returns to his hometown of Lumberton, North Carolina after his father, Tom, has a near-fatal attack from a medical condition that is never directly stated. Jeffrey's father is confined in a bed and with some manner of constricting device, suggesting a seizure disorder. Walking home from the hospital, Jeffrey cuts through a vacant lot and discovers a severed human ear, which he takes to police detective John Williams. Williams' daughter Sandy tells Jeffrey that the ear somehow relates to a lounge singer named Dorothy Vallens. Intrigued, Jeffrey, posing as a pest exterminator, accesses her apartment. While there, he steals a spare key while she is distracted by a man in a distinctive yellow sport coat, whom Jeffrey nicknames the "Yellow Man". Jeffrey and Sandy attend Dorothy's nightclub act, in which she sings "Blue Velvet", and leave early so Jeffrey can infiltrate her apartment. Dorothy returns home, stripping naked, but when she hears Jeffrey, she finds him hiding in a closet and forces him to undress at knifepoint. She attempts to rape Jeffrey, but he retreats to the closet when Frank Booth, an aggressively psychopathic gangster and drug lord, arrives and interrupts their encounter. Frank then proceeds to beat and rape Dorothy while inhaling narcotic gas from a canister and alternating between fits of sobbing and violent rage. After Frank leaves, Jeffrey sneaks away and seeks comfort from Sandy. After surmising that Frank has abducted Dorothy's husband, Don, and son, Donnie, to force her into sex slavery, Jeffrey suspects Frank cut off Don's ear to intimidate her into submission. While continuing to see Sandy, Jeffrey enters into a sadomasochistic sexual relationship in which Dorothy encourages him to hit her. Jeffrey sees Frank attending Dorothy's show and later observes him selling drugs and meeting with the Yellow Man. Jeffrey then sees the Yellow Man meeting with a "well-dressed man." When Frank catches Jeffrey leaving Dorothy's apartment, he abducts them and takes them to the lair of Ben, a criminal associate holding both Don and Donnie hostage. Frank permits Dorothy to see her family and forces Jeffrey to watch Ben perform an impromptu lip-sync of Roy Orbison's "In Dreams", which moves Frank to tears. Afterwards, he and his gang take Jeffrey and Dorothy on a high-speed joyride to a sawmill yard, where he reattempts to sexually abuse Dorothy. When Jeffrey intervenes and punches him in the face, an enraged Frank and his gang pull him out of the car. Replaying the tape of "In Dreams", Frank smears lipstick on his face and violently kisses Jeffrey, likewise smearing him with red lipstick, before savagely beating him unconscious, while Dorothy pleads for Frank to stop. Jeffrey awakes the next morning, bruised and bloodied. Visiting the police station, Jeffrey discovers that Detective Williams' partner, Tom Gordon, is the Yellow Man, who has been murdering Frank's rival drug dealers and stealing confiscated narcotics from the evidence room for Frank to sell. After he and Sandy declare their love for each other at a party, they are pursued by a car which they assume belongs to Frank. As they arrive at Jeffrey's home, Sandy realizes the driver is her ex-boyfriend, Mike. After Mike threatens to beat Jeffrey for stealing his girlfriend, Dorothy appears on Jeffrey's porch naked, beaten, and confused. Mike backs down as Jeffrey and Sandy whisk Dorothy to Sandy's house to summon medical attention. When Dorothy calls Jeffrey "my secret lover", a distraught Sandy slaps him for cheating on her. Jeffrey asks Sandy to tell her father everything, and Detective Williams then leads a police raid on Frank's headquarters, killing his men and crippling his criminal empire. Jeffrey returns alone to Dorothy's apartment, where he discovers her husband dead and the Yellow Man mortally wounded. As Jeffrey leaves the apartment, the "Well-Dressed Man" arrives, sees Jeffrey in the stairs, and chases him back inside. Jeffrey, realizing that the "Well-Dressed Man" is actually Frank Booth, uses the Yellow Man's walkie-talkie to say he is in the bedroom before hiding in a closet. When Frank arrives, he starts shooting around Dorothy's apartment attempting to kill Jeffrey in a state of paranoia, in the process killing the Yellow Man. As Frank deducts where Jeffery's hiding, Jeffery ambushes and kills him with the Yellow Man's gun, moments before Sandy and Detective Williams arrive to help. In the epilogue, it is revealed that Jeffrey and Sandy have continued their relationship, Tom has recovered from being hospitalized, and Dorothy has been reunited with her son.

PICKPOCKET (Robert Bresson, 1959)

Michel goes to a race at Longchamp Racecourse and takes some money from a woman's purse. He leaves the track confident he was not noticed, but is suddenly arrested. At the police station, the chief inspector releases him because it cannot be proven that he stole the money. The next day, Michel goes to visit his sickly mother, who he has not seen in a month. Her neighbor, Jeanne, offers to let him in the apartment, but, instead, he gives her money to give his mother and leaves. Michel goes to meet his friend Jacques at a bar and asks for help finding a job. He sees the chief inspector and they wind up discussing Michel's theory that certain superior men should not be bound by the same laws as everyone else. In the subway, Michel notices a pickpocket. He practices the technique he observed and employs it successfully. Later, he tells Jacques that he is no longer looking for a job. After spending a week in the subway picking pockets, Michel is caught, so he lays low for a few days. He notices a mysterious man lurking outside, but is interrupted when Jacques shows up with Jeanne, who tells Michel that his mother is ill. Michel sends Jacques to see his mother in his place and goes out to find the mysterious man. The man turns out to be a pickpocket, and he teaches Michel several new techniques. When she is on her deathbed, Michel finally goes to see his mother. She says she is not worried about him and he says he is sure she will get better, but she dies soon after. Michel and the mysterious man begin to work together, and they eventually bring in a third man. On a Sunday, Michel goes to a carnival with Jacques and Jeanne. While they are on a ride, he wanders off. Jacques finds him at his apartment cleaning himself up, having fallen during his escape from a man whose watch he stole. Michel asks if Jacques and Jeanne love each other, and Jacques leaves. Michel and his two accomplices undertake coordinated pickpocketing sprees at crowded locations, and one day he gets to Gare de Lyon station and sees his accomplices being led away in handcuffs. He goes home, and the chief inspector comes by to tell him that, a month before he was arrested at the racetrack, Jeanne reported some money had been stolen from Michel's mother, but the complaint was withdrawn the next day. Deeming it unlikely Michel will turn his life around, the inspector indicates he is going to start watching Michel more closely. Jeanne tells Michel that the police recently asked her to confirm his mother is the one who withdrew her complaint, which shows Michel that his mother knew he robbed her. Jeanne has still not figured this out, but he catches her up. Although she is appalled, she tearfully hugs him before he leaves and asks if he is going to run away before the inspector catches him, giving him the idea to do just that. Michel spends two years in London "pulling off good jobs", but he blows all of his money gambling and on women and returns to Paris. He goes to see Jeanne and discovers she and Jacques had a child, who she is raising alone because she did not want to marry him. Michel offers to help her support the child by getting an honest job, and he follows through. He is feeling good, but is drawn to a man reading the racing form and finds himself accompanying the man to Longchamp. Although suspicious when the man seems to win a bet he should have lost, Michel still tries to steal the money and is arrested, as the man is a plainclothes officer. At first, Michel is mostly just upset he was caught. He cannot understand why Jeanne visits him in jail, but, after she does not come for three weeks, he finds his hands shaking as he reads a letter explaining that her child has been sick. When he sees her again, she seems lit up, and he realizes he loves her.

THE WILD BUNCH (Sam Peckinpah, 1969)

In 1913 Texas, Pike Bishop, the leader of a gang of aging outlaws, seeks to retire after a final robbery of silver from a railroad payroll office. Corrupt railroad agent Pat Harrigan has hired a posse of bounty hunters led by Pike's former partner Deke Thornton, who ambush and kill more than half of Bishop's gang in a bloody shootout, which also kills many innocent bystanders as Pike uses a serendipitous temperance union parade to shield their getaway. Pike rides off with the only survivors: his close friend Dutch Engstrom, brothers Lyle and Tector Gorch, the inexperienced Angel, and a fifth man blinded and terminally wounded by buckshot, who Pike mercy-kills. The loot from the robbery turns out to be worthless steel washers planted by Harrigan. Needing money, they head for Mexico accompanied by the cantankerous Freddie Sykes and cross the Rio Grande to the rural village where Angel was born. The village elder warns them about General Mapache, a vicious Huertista officer in the Mexican Federal Army, who has been stealing food and animals from local villages to support his campaign against the forces of Pancho Villa. Pike's gang ask the general for work at his headquarters in the town of Agua Verde. Angel spots his former lover Teresa in Mapache's arms and shoots her dead, angering the general and nearly getting them killed, but Pike defuses the situation. Mapache offers gold to the gang to rob a U.S. Army train so Mapache can resupply his army's dwindling stocks of ammunition and provide samples of American weapons to his German military adviser Commander Mohr. Angel gives his share of the gold to Pike in return for sending one crate of rifles and ammunition to a band of peasant rebels opposed to Mapache. The holdup goes largely as planned until Thornton's posse turns up on the train the gang has robbed and chases them to the Mexican border. The robbers blow up a trestle bridge spanning the Rio Grande as the posse tries to cross, dumping the entire posse into the river, but the exhausted posse continues their pursuit. The director sets up the climactic gun battle sequences at "Agua Verde" (the Hacienda Ciénaga del Carmen). Pike, anticipating that Mapache might double-cross him, hides the goods and has his men sell them to Mapache in separate amounts. However, Mapache learns from Teresa's mother that Angel stole some of the weapons and reveals this as Angel and Dutch deliver the last of the weapons. Angel desperately tries to escape, only to be captured, beaten, and dragged through town on a rope tied to the back of Mapache's car. Mapache lets Dutch go after he states that Angel is a thief who deserves to be punished, and Dutch then tells Pike and the others what happened. Sykes is wounded by Thornton's posse while securing spare horses. Dutch criticizes Thornton for working with the railroad, but Pike says Thornton "gave his word" to the railroad and must see it through. Dutch angrily declares, "That ain't what counts, it's who you give it to." Pike and the gang bury most of the gold and return to Agua Verde, where the townspeople and soldiers are drunkenly celebrating the weapons sale. Mapache refuses to sell Angel back to the gang, and after a period of reflection while visiting a brothel, Pike and the others arm themselves to rescue their friend by force. Mapache initially agrees to release Angel, only to cut his throat at the last second. The gang instantly opens fire and guns down the general. While the nearby soldiers are frozen in shock, Pike calmly takes aim and kills Mohr. This begins a bloody gunfight that kills Pike, Dutch, the remaining gang members, Mohr's aide, every member of Mapache's staff, and most of the assembled troops. Thornton arrives and finds Pike already dead. Thornton finds a loaded revolver on Pike's belt and takes it as a sign that the days of men like him are over. Feeling outdated and tired, Thornton allows the remaining posse members to greedily strip Pike and his men of their possessions before taking them back to Texas for the bounty, while he stays behind. After some time, Sykes arrives with the elder from Angel's village and a band of rebels, indicating that they caught up with the bounty hunters, avenged the gang's deaths, and buried them properly. Sykes invites Thornton to join the coming revolution against the Mexican government. Thornton smiles and rides off with them.

SINGIN' IN THE RAIN (Stanley Donen & Gene Kelly, 1952)

In 1927, popular silent film stars Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) attend the premiere of their latest film The Royal Rascal. Though Don can barely tolerate the spoiled and conniving Lina, their studio, Monumental Pictures, links them romantically to increase publicity. Lina is convinced that they truly are in love, despite Don's protestations otherwise. At a red-carpet interview, Don relates the story of his graceful and dignified rise to stardom; though his words are humorously contradicted by flashbacks showing his humble roots as a hoofer, musician and stuntman, alongside his best friend from boyhood Cosmo Brown (Donald O'Connor) ("Fit as a Fiddle"). After the premiere, Don escapes rabid fans by jumping into a passing car driven by Kathy Selden (Debbie Reynolds). Kathy, who claims to be a theater actress, drops him off, but not before deriding his "undignified" accomplishments as a movie star. Later, at an after-party, Monumental Pictures head R. F. Simpson (Millard Mitchell), shows a short demonstration of the newfound talking picture.[a] His guests are unimpressed, believing it will never amount to anything. To Don's amusement, Kathy pops out of a mock cake, revealing herself to be a chorus girl ("All I Do is Dream of You"). Furious at Don's teasing, she throws a cake at him, but accidentally hits Lina. Kathy runs away before Don can catch up with her. Weeks later, Don is still smitten with Kathy and has been searching for her, with Cosmo trying to cheer him up ("Make 'Em Laugh"). Lina reveals that she got Kathy fired. On the studio lot, Cosmo finally finds Kathy quietly working in another Monumental Pictures production ("Beautiful Girl"). Kathy admits to actually being a fan of Don's, while Don professes his feelings for her ("You Were Meant for Me"). Drive-in advertisement from 1952 After rival studio Warner Bros. has an enormous hit with its first talking picture The Jazz Singer, R. F. decides he has no choice but to convert the next Lockwood and Lamont film, The Dueling Cavalier, into a talkie. The production is beset with difficulties, including the actors being unfamiliar with the recording technology and Lina's grating, high-pitched voice. Lina and Don both undertake diction lessons ("Moses Supposes"). Due to multiple complications (including awkward microphone placements, Don's uninspired improvising,[b] and, finally, the audio going out of sync), The Dueling Cavalier's preview screening is a resounding failure Afterward, Kathy and Cosmo help Don come up with the idea to save The Dueling Cavalier by turning it into a musical ("Good Morning"). Cosmo, inspired by The Dueling Cavalier's synchronization error, suggests that they dub Lina's voice with Kathy's. Don drops Kathy off at her home and then walks home through a driving rain. ("Singin' in the Rain"). Don and Cosmo pitch the idea to R. F., changing the title of the film to The Dancing Cavalier and adding a modern framing device ("Broadway Melody"). R. F. approves but tells them not to inform Lina that Kathy is doing the dubbing. Having learned the truth, a furious Lina barges in on a dubbing session, and becomes even angrier when she is told that Don and Kathy are in love and intend to marry, and that R. F. intends to give Kathy a screen credit and a big publicity buildup. Lina threatens to sue R. F. unless he makes sure no one ever hears of Kathy and that she keeps dubbing Lina for the rest of her career. R. F. reluctantly agrees because of a clause in Lina's contract which holds the studio responsible for positive media coverage. The premiere of The Dancing Cavalier is a tremendous success ("Would You"). When the audience clamors for Lina to sing live, Don, Cosmo, and R. F. tell her to lip sync into a microphone while Kathy, concealed behind the curtain, sings into a second one. While Lina is "singing" ("Singin' in the Rain Reprise"), Don, Cosmo and R. F. gleefully open the curtain, revealing the ruse. The defeated Lina flees in humiliation. A distressed Kathy tries to run away as well, but Don proudly announces to the audience that she's "the real star" of the film ("You Are My Lucky Star"). Later, Kathy and Don kiss in front of a billboard for their new film Singin' in the Rain.

LAWRENCE OF ARABIA (David Lean, 1962)

In 1935, T. E. Lawrence dies in a motorcycle accident. His memorial service is held at St Paul's Cathedral. During the First World War, Lawrence is a misfit British Army lieutenant, notable for his insolence and education. Over the objections of General Murray, Mr. Dryden of the Arab Bureau sends him to assess the prospects of Prince Faisal in his revolt against the Turks. On the journey, his Bedouin guide, Tafas, is killed by Sherif Ali ibn el Kharish for drinking from his well without permission. Lawrence later meets Colonel Brighton, who orders him to keep quiet, make his assessment, and leave. Lawrence ignores Brighton's orders when he meets Faisal; his outspokenness piques the prince's interest. Brighton advises Faisal to retreat after a major defeat, but Lawrence conceives a surprise attack on Aqaba, whose capture would provide a port from which the British could offload much-needed supplies. To this, he convinces Faisal to provide fifty men, led by a pessimistic Sherif Ali. The teenage orphans Daud and Farraj attach themselves to Lawrence as servants. With difficulties, they cross the Nefud Desert and travel without rest on the last stage to reach water. An Arab, Gasim, succumbs to fatigue and falls off his camel unnoticed during the night. When Lawrence discovers Gasim missing, he turns back and rescues him. Won over, the men accept Lawrence as one of their own. Lawrence persuades Auda Abu Tayi, the leader of the local Howeitat tribe, to turn against the Turks. Lawrence's scheme is almost derailed when one of Ali's men kills one of Auda's because of a blood feud. Since retaliation by the Howeitat would shatter the alliance, Lawrence announces he will execute the murderer himself. Lawrence is then stunned to discover that the culprit is Gasim but shoots him anyway. The next morning, the Arabs overrun the Turkish garrison. Lawrence heads to Cairo with Daud and Farraj to inform Dryden and the new commander, General Allenby, of his victory. While crossing the Sinai Desert, Daud dies from stumbling into quicksand. Although Lawrence's report of Aqaba's capture is initially disbelieved, he is promoted to major and given arms and money for the Arabs. Lawrence asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia. Allenby states that there is none. Lawrence launches a guerrilla war by blowing up the Ottoman railway between Damascus and Medina and harassing the Turks. An American war correspondant, publicises Lawrence's exploits and makes him famous. On one raid, Farraj is badly injured. Unwilling to leave Farraj to be tortured by the enemy, Lawrence shoots him dead and flees. When Lawrence scouts the enemy-held city of Deraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey. Lawrence is stripped, ogled, and prodded. For striking out at the Bey, Lawrence is flogged and thrown into the street, where Ali comes to his aid. The experience leaves Lawrence shaken. He returns to British headquarters in Cairo but does not fit in. In Jerusalem, General Allenby urges him to support the "big push" on Damascus. Lawrence reluctantly returns. He recruits an army that is motivated more by money than by the Arab cause. They sight a column of retreating Turkish soldiers, who have just massacred the residents of Tafas. One of Lawrence's men is from Tafas and demands, "No prisoners!" When Lawrence hesitates, the man charges alone and is killed. Lawrence takes up the dead man's battle cry; the result is a slaughter in which Lawrence participates, despite Ali's protests. Lawrence's men take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but the British cut off access to the public utilities, leaving the desert tribesmen to debate how to maintain the occupation. Despite Lawrence's efforts, they bicker constantly, and soon abandon most of the city to the British. Lawrence is promoted to colonel and ordered back to Britain, as his usefulness to both Faisal and the British is at an end. As he leaves the city, he looks longingly at the departing Arabs before his car is passed by a motorcyclist, who leaves a trail of dust in his wake.

CHINATOWN (Roman Polanski, 1974)

In 1937, a woman identifying herself as Evelyn Mulwray hires private investigator Jake Gittes to trail her husband Hollis, whom she suspects of infidelity. Hollis Mulwray is chief engineer at the Los Angeles Department of Water and Power, and Gittes hears him publicly refuse to build a new dam on safety grounds. Later, Gittes photographs Mulwray in the company of a young woman, and the pictures make their way into the next day's paper. At his office, Gittes is confronted by the real Evelyn Mulwray, who threatens to sue him. Gittes concludes that the fake Evelyn was using him to discredit Mulwray. He goes to a reservoir to search for clues but instead finds his old police associate, Lieutenant Lou Escobar. Hollis Mulwray's body had been found in the reservoir, having apparently drowned. Now working for Evelyn, Gittes investigates Mulwray's death as a homicide. He discovers that although there is supposedly a drought, huge quantities of water are released from the reservoir every night. Gittes is warned off by Water Department Security Chief Claude Mulvihill and a henchman who slashes Gittes's left nostril. At his office, Gittes receives a call from Ida Sessions, who identifies herself as the fake Mrs. Mulwray. She refuses to disclose the name of the man who hired her, but tells Gittes to check that day's obituaries. Gittes learns that Mulwray was once the business partner of Evelyn's wealthy father, Noah Cross. Over lunch at Cross's club, Cross offers to double Gittes's fee if he searches for Mulwray's missing mistress. At the hall of records, Gittes discovers that much of the Northwest Valley has recently changed ownership. He visits an orange grove in the valley but is attacked by angry landowners who believe him to be an agent of the Water Department, which they claim is sabotaging the water supply to force them out. Gittes deduces that the Water Department is drying up the land so it can be bought cheaply, and that Mulwray was murdered when he uncovered the plan. He also discovers that some of the property in the valley was seemingly purchased by a recently deceased retirement home resident. Gittes and Evelyn bluff their way into the retirement home and confirm that other real-estate deals were surreptitiously transacted in the names of unknowing residents. Their visit is interrupted by the suspicious director, who has called Mulvihill. After escaping Mulvihill and his thugs, Gittes and Evelyn hide at Evelyn's house and sleep together. During the night, Evelyn receives a phone call and must leave suddenly; she warns Gittes that her father is dangerous. Gittes follows Evelyn's car to a house where he sees Evelyn comforting Mulwray's mistress. He accuses Evelyn of holding the woman hostage, but she claims the woman is her sister, Katherine. The next day, an anonymous call draws Gittes to Ida Sessions' apartment, where he finds her body. Lieutenant Escobar, who is waiting there, says the coroner found saltwater in Mulwray's lungs, indicating that he did not drown in the freshwater reservoir. Escobar suspects Evelyn murdered him and tells Gittes to produce her quickly. At the Mulwray mansion, Gittes finds Evelyn gone and the servants packing up the house. He discovers that the garden pond is saltwater and spots a pair of eyeglasses in it. He confronts Evelyn about Katherine, whom Evelyn now claims is her daughter. Gittes slaps Evelyn repeatedly and throws her across the room until she breaks down and reveals that Katherine is her sister and daughter. She explains that her father raped her when she was 15 years old, and she ran away to Mexico. She says the eyeglasses are not Mulwray's, as he did not wear bifocals. Gittes arranges for the women to flee back to Mexico and instructs Evelyn to meet him at her butler's home in Chinatown. He summons Cross to the Mulwray home to settle their deal. Cross admits his intention to incorporate the Northwest Valley into the City of Los Angeles, then irrigate and develop it. Gittes confirms that the bifocals he found are Cross's and accuses Cross of murdering Mulwray. Cross has Mulvihill take the bifocals from Gittes at gunpoint. Gittes is then forced to drive them to Chinatown, where Evelyn is waiting. The police are already there and detain Gittes. Cross advances on Katherine as she gets into Evelyn's car, identifies himself as her grandfather, and attempts to take her away from Evelyn. Desperate to escape Cross, Evelyn shoots him in the arm and drives away with Katherine. The police open fire, killing Evelyn. Cross clutches the hysterical Katherine and pulls her away from the car. Escobar orders Gittes to be released and tells him to go home. One of Gittes's associates leads him away from the scene, telling Gittes as he glances back at Evelyn's body: "Forget it, Jake. It's Chinatown."

A WOMAN UNDER THE INFLUENCE (John Cassavetes, 1974)

Mabel Longhetti, a Los Angeles housewife and mother, sends her three children to spend the night with her mother but is extremely hesitant to do so. She is a heavy drinker and exhibits strange behavior. That night, she meets a man at a bar and he takes her home. Despite her protests, he forces her to dance with him and appears to sexually assault her at the bottom of the stairs. She wakes up the next morning in bed and the man is still there. She is confused and briefly argues with him before he leaves calling him by her husband's name. Her construction foreman husband, Nick, argues with his crew over bringing them to his house, saying he is ashamed of his 'crazy' wife. He succumbs to their cajoling and brings them over without being able to call Mabel beforehand. She makes everyone spaghetti, which Nick seems strangely critical of. The meal is superficially pleasant, then sours once Nick snaps at Mabel for flirting and dancing with the men. Mabel's strange mannerisms and increasingly odd behavior continue to be a source of concern for Nick. She hosts a birthday party, but one of the child's parents becomes disturbed by her behavior and is reluctant to leave his children alone with her, asking if she's been drinking. When Nick comes home, he gets into a fistfight with the child's father, who then leaves with his children. Nick also angrily slaps Mabel in front of the children. He brings a doctor to evaluate her mental health. Mabel grows increasingly angry and suspicious and Nick fights off the doctor when he attempts to sedate her. Convinced she has become a threat to herself and others, the doctor institutionalizes her. Nick returns to work and is annoyed by the workers' interest in Mabel's situation. He gets into an altercation with a worker named Eddie, who falls down a hill and is severely injured. He picks up the children from school in the middle of the day to go to the beach and allows them to sip his beer, proving himself to be an equally unsuitable parental figure. Six months later, Nick plans a large surprise welcome home party for Mabel's return from the institution. However, his mother points out that this may be overwhelming for her. Nick overreacts by sending off all of the non-family guests with screams and shouts. When Mabel arrives, she is apprehensive and quiet, in great contrast to her former outgoing and eccentric personality. Nick tries to make her feel comfortable, but to no avail. The evening degenerates in yet another emotional and psychologically taxing event for Mabel. She reveals she underwent electroshock therapy in the mental hospital and becomes increasingly distraught. After the guests leave, Mabel has a breakdown and cuts herself. When she stands on a sofa and refuses to come down, Nick slaps her and causes her to fall. She appears to recover somewhat and puts the kids to bed while they express their love for her. Nick and Mabel prepare their bed together as the credits roll.

MODERN TIMES (Charles Chaplin, 1936)

The Tramp works on an assembly line, where he suffers greatly due to the stress and pace of the repetitive work. He eventually suffers a nervous breakdown and runs amok, getting stuck within a machine and throwing the factory into chaos; he is then sent to the hospital. Following his recovery, the now unemployed Tramp is mistakenly arrested in a Communist demonstration. In jail, he accidentally ingests smuggled cocaine, and in his subsequent delirium, he avoids being put back in his cell. When he returns, he stumbles upon a jailbreak and knocks the convicts unconscious for which he is hailed as a hero and given special treatment. When he is informed that he will soon be released due to his heroic actions, he argues unsuccessfully that he prefers life in jail. Upon release, he applies for a new job with a shipbuilder but leaves after causing an accident. Soon after, he runs into a orphaned girl, Ellen (Paulette Goddard), who is fleeing the police after stealing a loaf of bread. Determined to go back to jail and to save her from arrest, the Tramp tells the police that he is the thief and asks to be arrested, but a witness reveals his deception and he is freed. He then eats an enormous amount of food at a cafeteria without paying to get arrested, and once again encounters Ellen in a paddy wagon after he is put in it. It soon crashes however, and she convinces him to escape with her. The Tramp then gets a job as a night watchman at a department store, and encounters three burglars led by "Big Bill," a fellow worker from the factory, who explains that they are hungry and desperate. After sharing drinks with them, he wakes up the next morning during opening hours and is arrested once again for failing to call the police on the burglars and for sleeping in the store's clothes on a desk, shocking a customer and the storekeeper. Days later, Ellen takes him to a run-down shack to live in. The next morning, he reads about an old factory's re-opening and lands a job as a mechanic's assistant. The other workers then suddenly decide to go on strike, and tell the Tramp to leave with them. Outside the factory, he accidentally launches a brick at a policeman and is arrested again. He is released two weeks later, and learns that Ellen is now a café dancer. She gets him a job as a singer and waiter, but he goes about his duties clumsily. During his floor show, he loses his cuffs, which bear the lyrics to his song, but he rescues the act by improvising the lyrics using gibberish and by pantomiming. When police arrive to arrest Ellen for her earlier escape, the two are forced to flee again, and Ellen despairs that their struggles are all pointless, but the Tramp reassures her. At a bright dawn, they walk down the road towards an uncertain but hopeful future.

LA JETÉE (Chris Marker, 1962)

A man (Davos Hanich) is a prisoner in the aftermath of World War III in post-apocalyptic Paris, where survivors live underground in the Palais de Chaillot galleries. Scientists research time travel, hoping to send test subjects to different time periods "to call past and future to the rescue of the present." They have difficulty finding subjects who can mentally withstand the shock of time travel. The scientists eventually settle upon the protagonist; his key to the past is a vague but obsessive memory from his pre-war childhood of a woman (Hélène Châtelain) he had seen on the observation platform ("the jetty") at Orly Airport shortly before witnessing a startling incident there. He did not understand exactly what happened, but knew he had seen a man die. After several attempts, he reaches the pre-war period. He meets the woman from his memory, and they develop a romantic relationship. After his successful passages to the past, the experimenters attempt to send him into the far future. In a brief meeting with the technologically advanced people of the future, he is given a power unit sufficient to regenerate his own destroyed society. Upon his return, with his mission accomplished, he discerns that he is to be executed by his jailers. He is contacted by the people of the future, who offer to help him escape to their time permanently; but he asks instead to be returned to the pre-war time of his childhood, hoping to find the woman again. He is returned to the past, placed on the jetty at the airport, and it occurs to him that the child version of himself is probably also there at the same time. He is more concerned with locating the woman, and quickly spots her. However, as he rushes to her, he notices an agent of his jailers who has followed him and realizes the agent is about to kill him. In his final moments, he comes to understand that the incident he witnessed as a child, which has haunted him ever since, was his own death.

THE 400 BLOWS (François Truffaut, 1959)

Antoine Doinel is a young boy growing up in Paris. Misunderstood by his parents for playing truant from school and stealing and tormented in school for discipline problems by his teacher (such as writing on the classroom wall, and later falsely explaining his absence as having been due to his mother's death), Antoine frequently runs away from both places. He finally quits school after his teacher accuses him of plagiarizing Balzac. (Antoine loves Balzac and in a school essay he describes "the death of my grandfather", in a close paraphrase of Balzac from memory.) He steals a Royal typewriter from his stepfather's workplace to finance his plans to leave home, but, having been unable to sell it, is apprehended while trying to return it. Antoine Doinel (Jean-Pierre Léaud) in the final scene The stepfather turns Antoine over to the police and Antoine spends the night in jail, sharing a cell with prostitutes and thieves. During an interview with the judge, Antoine's mother confesses that her husband is not Antoine's biological father. Antoine is placed in an observation center for troubled youths near the seashore (as his mother wished). A psychologist at the center probes reasons for Antoine's unhappiness, which the youth reveals in a fragmented series of monologues. While playing football with the other boys one day, Antoine escapes under a fence and runs away to the ocean, which he has always wanted to see. He reaches the shoreline of the sea and runs into it. The film concludes with a freeze-frame of Antoine, which, via an optical effect, zooms in on his face as he looks into the camera.

SUNSET BLVD. (Billy Wilder, 1950)

At a mansion on Sunset Boulevard, a group of police officers and photographers discover the body of Joe Gillis floating face down in the swimming pool. In a flashback, Joe relates the events leading to his death. Six months earlier, Joe was a down-on-his-luck screenwriter trying to interest Paramount Pictures in a story he submitted. Script reader Betty Schaefer harshly critiques it, unaware that Joe is listening. Later, while fleeing from repossession men seeking his car, Joe turns into the driveway of a seemingly deserted mansion inhabited by forgotten silent film star Norma Desmond. Learning that Joe is a writer, Norma asks his opinion of a script she has written for a film about Salome. She plans to play the role herself in her return to the screen. Joe finds her script abysmal but flatters her into hiring him as a script doctor. Moved into Norma's mansion at her insistence, Joe sees that Norma refuses to accept that her fame has evaporated, and he learns that her butler Max secretly writes the fan letters she receives. At her New Year's Eve party, he realizes she has fallen in love with him. Joe tries to let her down gently, but Norma slaps him and retreats to her room. Joe visits his friend Artie Green and again meets Betty, who thinks a scene in one of Joe's scripts has potential. When he phones Max to have him pack his things, Max tells him Norma cut her wrists with his razor. Joe returns to Norma, and their relationship becomes non-platonic. Norma has Max deliver the edited Salome script to her former director Cecil B. DeMille at Paramount. She starts getting calls from Paramount executive Gordon Cole but refuses to speak to anyone except DeMille. Eventually, she has Max drive her and Joe to Paramount in her 1929 Isotta Fraschini. DeMille welcomes her affectionately and treats her with great respect, tactfully evading her questions about her script. Max learns that Cole wants to rent her unusual car for a film. Preparing for her imagined comeback, Norma undergoes rigorous beauty treatments. Joe secretly works nights in Betty's office, collaborating on an original screenplay. His moonlighting is found out by Max, who reveals that he was a respected film director who discovered Norma, made her a star, and was her first husband. After she divorced him, he abandoned his career to become her servant. Norma discovers a manuscript with Joe's and Betty's names on it and phones Betty, insinuating that Joe is not the man he seems. Joe, overhearing, invites Betty to see for herself. When she arrives, he pretends he is satisfied being a kept man. However, after she tearfully leaves, he packs for a return to his old Ohio newspaper job. He bluntly informs Norma there will be no comeback; her fan mail comes from Max, and she has been forgotten. He disregards Norma's threat to kill herself and the gun she shows him to back it up. As Joe leaves the house, Norma shoots him three times, and he falls into the pool. In the present, the house is filled with police and reporters. Having lost touch with reality amid her arrest, Norma believes the newsreel cameras are there to film Salome. Max and the police play along. As the cameras roll, Norma descends her grand staircase and makes an impromptu speech about how happy she is to be making a film again.

THE RULES OF THE GAME (Jean Renoir, 1939)

Aviator André Jurieux lands at Le Bourget Airfield outside Paris after crossing the Atlantic in his plane. He is greeted by his friend Octave, who tells André that Christine - the Austrian-French noblewoman André loves - has not come to greet him. André is heartbroken. When a radio reporter comes to broadcast André's first words upon landing, he explains his sorrow and denounces Christine. She is listening to the broadcast in her Paris apartment while attended by her maid, Lisette. Christine has been married to Robert, Marquis de la Chesnaye for three years. For two years, Lisette has been married to Schumacher - the gamekeeper at Robert's country estate, La Colinière in Sologne - but she is more devoted to Christine than to her husband. Christine's past relationship with André is openly known by her husband, her maid and their friend Octave. After Christine and Robert playfully discuss André's emotional display and pledge devotion to one another, Robert excuses himself to make a telephone call. He arranges to meet his mistress Geneviève the next morning. At Geneviève's apartment, Robert says he must end their relationship but invites her to join them for a weekend retreat to La Colinière. Christine also invites her niece, Jackie. Later, Octave induces Robert to invite André to the estate as well. They joke that André and Geneviève will begin a relationship, thereby solving everyone's problems. At the estate, Schumacher is policing the grounds and trying to eliminate rabbits. Marceau - a poacher - sneaks onto the estate to retrieve a rabbit caught in a snare. Before Marceau can escape, Schumacher catches him and begins to escort him from the property when Robert demands to know what is happening. Marceau explains that he can catch rabbits and Robert hires him as a servant. Once inside the house, Marceau flirts with Lisette. The assembled guests go on a hunt led by Schumacher, who resents Marceau. On the way back to La Colinière's castle, Robert tells Geneviève that he no longer loves her. Geneviève wants to pack up and leave but Christine persuades her to stay. At a masked ball, various romantic liaisons are made. André and Christine declare their love for each other and plan to run away together. Marceau pursues Lisette, and the jealous Schumacher is upset. Robert and André come to an argument over Christine. In the secluded greenhouse, Octave declares that he too loves Christine - who is now having doubts about André - and they decide to run away together. Schumacher and Marceau, who have both been expelled from the estate by Robert after a fight over Lisette, watch Octave and Christine in the greenhouse. As in Beaumarchais's Marriage of Figaro, the literary basis for Mozart's opera, they mistake Christine for Lisette because Christine is wearing Lisette's cape and hood. Octave returns to the house for his coat and hat, where Lisette begs him not to leave with Christine. Breaking his promise to Christine, Octave meets André and sends him out to Christine in the greenhouse, lending him his overcoat. When André reaches the greenhouse wearing Octave's coat, Schumacher mistakes him for Octave, whom he thinks is trying to run off with his wife Lisette, and Schumacher shoots him dead. In the closing moments of the film, Octave and Marceau walk away into the night as Robert brings Schumacher back into the household and explains that he would report the killing to the authorities as nothing more than an unfortunate accident.

LA STRADA (Federico Fellini, 1954)

Gelsomina, an apparently somewhat simple-minded, dreamy young woman, learns that her sister Rosa has died after going on the road with the strongman Zampanò. Now the man has returned a year later to ask her mother if Gelsomina will take Rosa's place. The impoverished mother, with other mouths to feed, accepts 10,000 lire, and her daughter tearfully departs the same day. Zampanò makes his living as an itinerant street performer, entertaining crowds by breaking an iron chain bound tightly across his chest, then passing the hat for tips. In short order, Gelsomina's naïve and antic nature emerges, with Zampanò's brutish methods presenting a callous foil. He teaches her to play the snare drum and trumpet, dance a bit, and clown for the audience. Despite her willingness to please, he intimidates her, forces himself upon her, and treats her cruelly at times. She develops a tenderness for him that is betrayed when he goes off with another woman one evening, leaving Gelsomina abandoned in the street. Yet here, as throughout the film, even in her wretchedness, she manages to find beauty and wonder, aided by some local children. Finally, she rebels and leaves, making her way into town. There she watches the act of another street entertainer, Il Matto ("The Fool"), a talented high wire artist and clown. When Zampanò finds her there, he forcibly takes her back. They join a ragtag travelling circus where Il Matto already works. Il Matto teases the strongman at every opportunity, though he cannot explain what motivates him to do so. After Il Matto drenches Zampanò with a pail of water, Zampanò chases after his tormentor with his knife drawn. As a result, he is briefly jailed, and both men are fired from the travelling circus. Before Zampanò's release from prison, Il Matto proposes to Gelsomina that there are alternatives to her servitude and imparts his philosophy that everything and everyone has a purpose - even a pebble, even she. A nun suggests that Gelsomina's purpose in life is comparable to her own. But when Gelsomina offers Zampanò marriage, he brushes her off. On an empty stretch of road, Zampanò comes upon Il Matto fixing a flat tire. As Gelsomina watches in horror, the two men begin to fight; it ends after the strongman punches the clown on the head several times, causing the fool to hit his head on the corner of his car's roof. As Zampanò walks back to his motorcycle with a warning for the man to watch his mouth in the future, Il Matto complains that his watch is broken, then stumbles into a field, collapses, and dies. Zampanò hides the body and pushes the car off the road, where it bursts into flames. The killing breaks Gelsomina's spirit and she becomes apathetic, constantly repeating, "The Fool is hurt." Zampanò makes a few small attempts to console her, but in vain. Fearful he will no longer be able to earn a living with Gelsomina, Zampanò abandons her while she sleeps, leaving her some clothes, money, and his trumpet. Some years later, he overhears a woman singing the very tune Gelsomina often played. He learns that the woman's father had found Gelsomina on the beach and kindly taken her in. However, she had wasted away and died. Zampanò gets drunk, gets in a fight with the locals, and wanders to the beach, where he breaks down in tears.

WILD STRAWBERRIES (Ingmar Bergman, 1957)

Grouchy, stubborn, and egotistical Professor Isak Borg is a widowed 78-year-old physician who specialized in bacteriology. Before specializing, he served as a general practitioner in rural Sweden. He sets out on a long car ride from Stockholm to Lund to be awarded the degree of Doctor Jubilaris 50 years after he received his doctorate from Lund University. He is accompanied by his pregnant daughter-in-law Marianne who does not much like her father-in-law and is planning to separate from her husband, Evald, Isak's only son. Evald does not want her to have the baby, their first. During the trip, Isak is forced by nightmares, daydreams, old age, and impending death to reevaluate his life. He meets a series of hitchhikers, each of whom sets off dreams or reveries into Borg's troubled past. The first group consists of two young men and their companion, a woman named Sara who is adored by both men. Sara is a double for the love of Isak's youth. He reminisces about his childhood at the seaside and his sweetheart Sara, with whom he remembered gathering strawberries, but who instead married his brother. The first group remains with him throughout his journey. Next Isak and Marianne pick up an embittered middle-aged couple, the Almans, whose vehicle had nearly collided with theirs. The pair exchanges such terrible vitriol and venom that Marianne stops the car and demands that they leave. The couple reminds Isak of his own unhappy marriage. In a dream sequence, Isak is asked by Sten Alman, now the examiner, to read "foreign" letters on the blackboard. He cannot. So, Alman reads it for him: "A doctor's first duty is to ask forgiveness," from which he concludes, "You are guilty of guilt."[3] He is confronted by his loneliness and aloofness, recognizing these traits in both his elderly mother (whom they stop to visit) and in his middle-aged physician son, and he gradually begins to accept himself, his past, his present, and his approaching death.[4][5][6] Borg finally arrives at his destination and is promoted to Doctor Jubilaris, but this proves to be an empty ritual. That night, he bids a loving goodbye to his young friends, to whom the once bitter old man whispers in response to a playful declaration of the young girl's love, "I'll remember." As he goes to his bed in his son's home, he is overcome by a sense of peace, and dreams of a family picnic by a lake. Closure and affirmation of life have finally come, and Borg's face radiates joy.

NASHVILLE (Robert Altman, 1975)

Hal Philip Walker, Replacement Party candidate in the 1976 United States presidential election, arrives in Nashville for a fundraising gala. Meanwhile, two recording sessions are taking place in a nearby studio: in one room, country superstar Haven Hamilton records a patriotic song commemorating the Bicentennial, while next door, Linnea Reese, a white gospel singer, records a song with the Jubilee Singers of historically black Fisk University. Opal, an Englishwoman who claims to be working on a documentary for the BBC (though she refers to the British Broadcasting Company), attempts to listen in on the sessions. Later that day, country singer Barbara Jean returns to Nashville following what the crowd believes was a burn accident (which may actually have been a nervous breakdown and stay at a mental hospital). She is greeted at Berry Field by local industry elites, including Haven and his companion, Lady Pearl, a nightclub owner. Also present are Pfc. Glenn Kelly, who is obsessed with Barbara Jean, and a popular folk trio consisting of married couple Bill and Mary, and guitarist Tom, who are in town to record an album. Meanwhile, Martha, a teen groupie going by the name "L.A. Joan", is picked up by her uncle, Mr. Green, at the airport; she has arrived to visit her dying aunt Esther, but covertly plans to pursue musicians. In the airport cafe, African-American cook Wade Cooley and his co-worker, a waitress named Sueleen, discuss her aspirations to become a singer. On the tarmac, Barbara Jean collapses from heat exhaustion, and those in attendance depart the airport only to become stranded after a vehicle pile-up occurs. During the commotion, Winifred, an aspiring country singer, runs away from her husband Star; Star then gives a ride to Kenny Frasier, who has just arrived in town carrying a violin case. Opal takes advantage of the traffic jam to interview Linnea, as well as Tommy Brown, an African-American country singer. That night, Sueleen performs at an open mic at Lady Pearl's club, demonstrating no singing ability. Meanwhile, Linnea's husband Del has John Triplette, Walker's political organizer, over for dinner. Throughout the meal, Linnea mainly focuses on communicating with her two deaf children. Tom, who crossed paths with Linnea earlier that day, phones the house to ask Linnea on a date, but she dissuades him. Glamorous singer Connie White performs that night, in lieu of Barbara Jean at the Grand Ole Opry. Mary misses Connie's performance to Bill's dismay, instead having sex with Tom at the hotel. At the hospital, Barbara Jean argues with her manager husband Barnett over Connie replacing her, and he accuses her of having another nervous breakdown. On Sunday morning, Lady Pearl, Wade, and Sueleen attend a Catholic mass, while Linnea sings in the choir of a black Baptist church. In the hospital chapel, Barbara Jean sings "In the Garden" from her wheelchair while Mr. Green, Pfc. Kelly, and others watch. Opal wanders through a massive auto scrapyard, recording observations on a tape recorder. Haven, Tommy, and their families attend the stock car races, where Winifred unsuccessfully attempts to sing on a small stage. Bill and Mary argue in their hotel room and are interrupted by Triplette, who recruits them to perform at the gala, while Tom tries to get chauffeur Norman to score him drugs. After Barbara Jean is discharged, she gives a performance at Opryland USA that ends in her being pulled off stage as she rambles between songs. To remediate her poor performance, Barnett pledges her to perform at Walker's gala. Martha meanwhile agitates Kenny, who is renting a room in her uncle's house, when she attempts to investigate his violin case. At Lady Pearl's club that night, Linnea, Martha, Bill, Mary, Opal, Norman and Wade are among those attending an open mic. Tom sings "I'm Easy" and Linnea, moved, goes back to his room, where they have sex. Tom is accustomed to women becoming clingy and emotional after trysts but Linnea is polite but detached afterwards. She leaves Tom's room oblivious to his blatant attempts to rattle her and make her jealous, frustrating him. Meanwhile, at an all-male Walker fundraiser, Sueleen is booed off stage for singing poorly; Del and Triplette convince her to perform a striptease in exchange for a slot at the gala. A drunken Del later comes onto Sueleen, but Wade rescues her. He tells her that she cannot sing and attempts to persuade her to come to Detroit with him; she refuses, determined to "sing with Barbara Jean". The next morning, the performers and audience converge at the Parthenon for Walker's gala concert. The lineup consists of Haven, Barbara Jean, Linnea and her choir, Mary and Tom, and Sueleen; Winifred arrives, hoping to sing. Meanwhile, Mr. Green and Kenny arrive at the gala searching for Martha, who has failed to attend her aunt Esther's funeral, and find her accompanying Bill. During Barbara Jean's set, Kenny produces a gun from his violin case, and begins shooting at the stage. A bullet grazes Haven's arm, but Barbara Jean is seriously injured. Kelly disarms Kenny as chaos breaks out. Barbara Jean is carried from the stage, bleeding and unconscious, while Haven tries to calm the crowd by exhorting them to sing, asserting that "This isn't Dallas". Winifred is handed the microphone in the melee, and begins singing "It Don't Worry Me", joined by Linnea's gospel choir.

THE THIRD MAN (Carol Reed, 1949)

Holly Martins, an American author of western fiction, arrives in post-World War II Vienna seeking his childhood friend, Harry Lime, who has offered him a job. Martins is told that Lime was killed by a car while crossing the street. At Lime's funeral, Martins meets two British Royal Military Police: Sergeant Paine, a fan of Martins's books, and Major Calloway. Afterward, Martins is asked by Mr. Crabbin to lecture at a book club a few days later. He then meets a friend of Lime's, "Baron" Kurtz, who tells Martins that he and another friend, a Romanian called Popescu, carried Lime to the side of the street after the accident. Before he died, Lime asked them to take care of Martins as well as Lime's girlfriend, actress Anna Schmidt. As Martins and Anna query Lime's death, they realise that accounts differ as to whether two or three men carried away the body. The porter at Lime's apartment tells them that he saw a third man help carry away the body. Later, the porter offers to give Martins more information, but he is murdered before Martins can talk to him. Martins confronts Major Calloway and demands that Lime's death be investigated. Calloway reveals that Lime was stealing penicillin from military hospitals, diluting it, then selling it on the black market, injuring or killing countless infants. Martins, convinced by hard evidence, agrees to leave. Martins visits Anna that evening. After leaving he walks the streets, until he notices Harry's cat and realises someone is watching from a darkened doorway. It is Harry. Martins calls out but Lime flees and vanishes. Martins summons Calloway, who realizes that Lime has escaped through the city's extensive sewers. The British police exhume Lime's coffin and discover that the body is the missing orderly who stole the penicillin for Lime. Anna is to be sent to the Soviet sector, and is questioned again by Calloway. Martins meets Lime and they ride the Wiener Riesenrad. Lime obliquely threatens Martins before leaving quickly. Calloway then asks Martins to help arrest Lime. Martins agrees to help on one condition, demanding Anna's safe conduct out of Vienna. Anna is about to leave on the train when she spots Martins, who has come to observe her departure. She forces the plan out of him but wants no part of it. Exasperated, Martins decides to leave Vienna, but on the way to the airport, Calloway stops at a hospital to show Martins children crippled or dying of meningitis who were treated with Lime's diluted penicillin. Martins agrees to help the police again. Lime arrives at a small café to meet Martins, but Anna is able to warn Lime that the police are closing in. He tries again to escape using the sewer tunnels, but the police are there. Lime shoots and kills Paine, but Calloway shoots and badly wounds Lime. Injured Lime drags himself up a cast-iron stairway to a street grating; however, cannot lift it. Martins finds Lime at the grating and hears Calloway shouting to shoot him on sight. Lime and Martins exchange a look, and then Martins shoots and kills him, using Paine's pistol. Martins attends Lime's second funeral, at the risk of missing his flight out of Vienna. He waits on the street to speak with Anna, but she totally ignores him and walks right past him without even glancing in his direction.

PATHER PANCHALI (Satyajit Ray, 1955)

In 1910s Nischindipur, rural Bengal, Harihar Roy earns a meagre living as a pujari (priest) but dreams of a better career as a poet and playwright. His wife Sarbajaya cares for their children, Durga and Apu, and Harihar's elderly cousin, Indir Thakrun. Because of their limited resources, Sarbajaya resents having to share her home with the old Indir, who often steals food from their already bare kitchen. Durga is fond of Indir and often gives her fruit stolen from a wealthy neighbour's orchard. One day, the neighbour's wife accuses Durga of stealing a bead necklace (which Durga denies) and blames Sarbajaya for encouraging her tendency to steal. As the elder sibling, Durga cares for Apu with motherly affection but spares no opportunity to tease him. Together, they share life's simple joys: sitting quietly under a tree, viewing pictures in a travelling vendor's bioscope, running after the candy man who passes through, and watching a jatra (folk theatre) performed by an acting troupe. Every evening, they are delighted by the sound of a distant train's whistle. Sarbajaya's grows increasingly resentful of Indir and becomes more openly hostile, which causes Indir to take temporary refuge in the home of another relative. One day, while Durga and Apu run to catch a glimpse of the train, Indir—who is feeling unwell—goes back home, and the children find she has passed away upon their return. With prospects drying up in the village, Harihar travels to the city to seek a better job. He promises that he will return with money to repair their dilapidated house, but is gone longer than expected. During his absence, the family sinks deeper into poverty, and Sarbajaya grows increasingly desperate and anxious. One day during the monsoon season, Durga plays in the downpour, catches a cold and develops a high fever. Her condition worsens as a thunderstorm batters the crumbling house with rain and wind, and she dies the next morning. Harihar returns home and starts to show Sarbajaya the merchandise he has brought from the city. A silent Sarbajaya breaks down at her husband's feet, and Harihar cries out in grief as he discovers that Durga has died. The family decide to leave their ancestral home for Benaras. As they pack, Apu finds the necklace Durga had earlier denied stealing; he throws it into a pond. Apu and his parents leave the village on an ox-cart, while a snake is seen slithering into their, now barren, house.

THE CONFORMIST (Bernardo Bertolucci, 1970)

In 1938 Paris, Marcello Clerici finalizes his preparations to assassinate his former college professor, Luca Quadri, leaving his wife Giulia in their hotel room. After receiving a telephone call, Marcello is picked up in a car driven by his subordinate, Special Agent Manganiello. The film often returns to the interior of this car, as the two of them pursue the professor and his wife. A series of flashbacks depict Marcello discussing with his blind friend Italo his plans to marry, his somewhat awkward attempts to join the Fascist secret police, and his visits to his parents: a morphine-addicted mother at the family's decaying villa, and his unhinged father at an insane asylum. In another flashback, Marcello is seen as a boy who is humiliated by his schoolmates until he is rescued by Lino, a chauffeur. Lino offers to show him a pistol and then makes sexual advances towards Marcello, which he partially responds to before grabbing the pistol and shooting wildly into the walls and into Lino, then flees from the scene of what he assumes is a murder. In another flashback, Marcello and Giulia discuss the necessity of his going to confession, even though he is an atheist, in order for her Roman Catholic parents to allow them to marry. Marcello agrees and, in confession, admits to the priest to have committed many grave sins, including his homosexual intercourse with and subsequent murder of Lino, premarital sex, and his absence of guilt for these sins. Marcello admits he thinks little of his new wife but craves the normality that a traditional marriage with children will bring. The priest is shocked but quickly absolves Marcello once he hears that he is working for the Fascist secret police, called Organization for Vigilance and Repression of Anti-Fascism. Marcello finds himself ordered to assassinate his old acquaintance and teacher, Professor Quadri, an outspoken anti-Fascist intellectual now living in exile in France. Using his honeymoon as a convenient cover, he takes Giulia to Paris where he can carry out the mission. While visiting Quadri he falls in love with Anna, the professor's young wife, and pursues her. Although it becomes clear that she and her husband are aware of Marcello's Fascist sympathies and the danger he presents to them, she responds to his advances and forms a close attachment to Giulia, towards whom she also makes sexual advances. Giulia and Anna dress extravagantly and go to a dance hall with their husbands where Marcello's commitment to the fascists is tested by Quadri. Manganiello is also at the dance hall, having been following Marcello for some time and doubtful of his intentions. Marcello secretly returns the gun that he has been given and gives Manganiello the location of Quadri's country house where the couple plan to go the following day. Even though Marcello has warned Anna not to go to the country with her husband and has apparently persuaded her to stay in Paris with him, she does make the car journey. On a deserted alpine road, Fascist agents attack and stab Quadri as Anna watches in horror. When the men turn their attention to her, she runs to the car behind for help. When Anna sees that the passenger in the rear of the car is Marcello and realizes his betrayal, she begins to scream uncontrollably, before running into the woods to escape the men trying to kill her. Marcello watches without emotion as she is pursued through the woods and finally shot to death. Manganiello walks away from the car for a cigarette, disgusted with what he sees as Marcello's cowardice in not shooting Anna when she ran to their car. In 1943, Marcello now has a small child with Giulia and is apparently settled in a conventional life when the resignation of Benito Mussolini and the fascist dictatorship is announced. He is called by Italo for a meeting. While walking, they overhear a conversation between two men; Marcello recognizes one of them as Lino whom he thought he had murdered. Marcello publicly denounces Lino as a Fascist, homosexual and the murderer of the Quadris. In his frenzy, he also denounces Italo as a Fascist. As a monarchist political crowd sweeps past, taking Italo with them, Marcello sits near a small fire and stares intently behind him at the young man Lino had been talking to.

THE GODFATHER (Francis Ford Coppola, 1972)

In 1945 New York City, Corleone crime family don Vito Corleone listens to requests during his daughter Connie's wedding to Carlo. Michael, Vito's youngest son and a former Marine, introduces his girlfriend, Kay Adams, to his family at the reception. Johnny Fontane, a popular singer and Vito's godson, seeks Vito's help in securing a movie role. Vito sends his consigliere, Tom Hagen, to persuade studio president Jack Woltz to offer Johnny the part. Woltz refuses Hagen's request at first, but soon complies after finding the severed head of his prized racing horse in his bed. Near Christmas, drug baron Sollozzo asks Vito to invest in his narcotics business and for protection from the law. Vito declines, citing that involvement in narcotics would alienate his political connections. Suspicious of Sollozzo's partnership with the Tattaglia crime family, Vito sends his enforcer Luca Brasi to the Tattaglias on an espionage mission. Brasi is garroted to death during the initial meeting. Later, enforcers gun down Vito and kidnap Hagen. With Vito's first-born Sonny now in command, Sollozzo pressures Hagen to persuade Sonny to accept the narcotics deal. Sonny retaliates for Brasi's death with a hit on Bruno Tattaglia. Vito survives the shooting and is visited in the hospital by Michael, who finds him unprotected after NYPD officers on Sollozzo's payroll cleared out Vito's guards. Michael thwarts another attempt on his father's life but is beaten by corrupt police captain Mark McCluskey. Sollozzo and McCluskey request to meet with Michael and settle the dispute. Michael feigns interest and agrees to meet, but hatches a plan with Sonny and Corleone capo Clemenza to kill them and go into hiding. Michael meets Sollozzo and McCluskey at a Bronx restaurant; after retrieving a handgun planted in the bathroom by Clemenza, he shoots both men dead. Despite a clampdown by the authorities for the killing of a police captain, the Five Families erupt in open warfare. Michael takes refuge in Sicily and Fredo, Vito's second son, is sheltered by Moe Greene in Las Vegas. Sonny publicly attacks and threatens Carlo for physically abusing Connie. When he abuses her again, Sonny speeds to their home but is ambushed and murdered by gangsters at a highway toll booth. In Sicily, Michael meets and marries a local woman, Apollonia, but she is killed shortly thereafter by a car bomb intended for him. Devastated by Sonny's death and tired of war, Vito sets a meeting with the Five Families. He assures them that he will withdraw his opposition to their narcotics business and forgo avenging Sonny's murder. His safety guaranteed, Michael returns home to enter the family business and marry Kay. Kay gives birth to two children in the early 1950s. With his father nearing the end of his life and Fredo not suited to lead, Michael assumes the position of head of the Corleone family. Vito reveals to Michael that it was Don Barzini who ordered the hit on Sonny and warns him that Barzini would try to kill him at a meeting organized by a traitorous Corleone capo. With Vito's support, Michael relegates Hagen to managing operations in Las Vegas as he is not a "wartime consigliere." Michael travels to Las Vegas to buy out Greene's stake in the family's casinos and is dismayed to see that Fredo is more loyal to Greene than to his own family. In 1955, Vito dies of a heart attack while playing with his grandson. At Vito's funeral, Tessio asks Michael to meet with Barzini, signaling his betrayal. The meeting is set for the same day as the baptism of Connie's baby. While Michael stands at the altar as the child's godfather, Corleone hitmen murder the dons of the Five Families, plus Greene, and Tessio is executed for his treachery. Michael extracts Carlo's confession to playing a part in Sonny's murder, assuring Carlo he is only being exiled, not murdered; afterward, Clemenza garrotes Carlo. Connie confronts Michael about Carlo's death while Kay is in the room. Kay asks Michael if Connie is telling the truth and is relieved when he denies it. As Kay leaves, capos enter the office and pay reverence to Michael as "Don Corleone" before closing the door.

BLADE RUNNER (Ridley Scott, 1982)

In 2019 Los Angeles, former police officer Rick Deckard is detained by Officer Gaff, who likes to make origami figures, and is brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered humanoids known as replicants and terminally "retire" them, is informed that four replicants are on Earth illegally. Deckard begins to leave, but Bryant ambiguously threatens him and Deckard stays. The two watch a video of a blade runner named Holden administering the Voight-Kampff test, which is designed to distinguish replicants from humans based on their emotional responses to questions. The test subject, Leon, shoots Holden on the second question. Bryant wants Deckard to retire Leon and three other Nexus-6 replicants: Roy Batty, Zhora, and Pris. Bryant has Deckard meet with the CEO of the company that creates the replicants, Eldon Tyrell, so he can administer the test on a Nexus-6 to see if it works. Tyrell expresses his interest in seeing the test fail first and asks him to administer it on his assistant Rachael. After a much longer than standard test, Deckard concludes privately to Tyrell that Rachael is a replicant who believes she is human. Tyrell explains that she is an experiment who has been given false memories to provide an "emotional cushion," and that she has no knowledge of her true nature. In searching Leon's hotel room, Deckard finds photos and a scale from the skin of an animal, which is later identified as a synthetic snake scale. Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian, a gifted genetic designer who works closely with Tyrell. Deckard returns to his apartment where Rachael is waiting. She tries to prove her humanity by showing him a family photo, but Deckard reveals that her memories are implants from Tyrell's niece, and she leaves in tears. Meanwhile, Pris locates Sebastian and manipulates him to gain his trust. A photograph from Leon's apartment and the snake scale lead Deckard to a strip club, where Zhora works. After a confrontation and chase, Deckard kills Zhora. Bryant also orders him to retire Rachael, who has disappeared from the Tyrell Corporation. Deckard spots Rachael in a crowd, but he is ambushed by Leon, who knocks the gun out of Deckard's hand and beats him. As Leon is about to kill Deckard, Rachael saves him by using Deckard's gun to kill Leon. They return to Deckard's apartment and, during a discussion, he promises not to track her down. As Rachael abruptly tries to leave, Deckard restrains her and forces her to kiss him, and she ultimately relents. Deckard leaves Rachael at his apartment and departs to search for the remaining replicants. Roy arrives at Sebastian's apartment and tells Pris that the other replicants are dead. Sebastian reveals that because of a genetic premature aging disorder, his life will be cut short, like the replicants that were built with a four-year lifespan. Roy uses Sebastian to gain entrance to Tyrell's penthouse. He demands more life from his maker, which Tyrell says is impossible. Roy confesses that he has done "questionable things" but Tyrell dismisses this, praising Roy's advanced design and accomplishments in his short life. Roy kisses Tyrell and then kills him by crushing his skull. Sebastian tries to flee and is later reported dead.[nb 1] At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns. Roy's body begins to fail as the end of his lifespan nears. He chases Deckard through the building and onto the roof. Deckard tries to jump onto another roof but is left hanging on the edge. Roy makes the jump with ease and, as Deckard's grip loosens, Roy hoists him onto the roof to save him. Before Roy dies, he laments that his memories "will be lost in time, like tears in rain". Gaff arrives to congratulate Deckard, also reminding him that Rachael will not live, but "then again, who does?" Deckard returns to his apartment to retrieve Rachael. While escorting her to the elevator, he notices a small origami unicorn on the floor. He recalls Gaff's words and departs with Rachael.

M (Fritz Lang, 1931)

In Berlin,[8] a group of children are playing an elimination game in the courtyard of an apartment building, using a chant about a murderer of children. A woman sets the table for lunch, waiting for her daughter to come home from school. A wanted poster warns of a serial killer preying on children, as anxious parents wait outside a school. Little Elsie Beckmann leaves school, bouncing a ball on her way home. She is approached by Hans Beckert,[9] who is whistling "In the Hall of the Mountain King" by Edvard Grieg. He offers to buy her a balloon from a blind street-vendor and walks and talks with her. Elsie's place at the dinner table remains empty, her ball rolls away across a patch of grass, and her balloon is lost in the telephone lines overhead.[10] In the wake of Elsie's disappearance, anxiety runs high among the public. Beckert sends an anonymous letter to the newspapers, taking credit for the child murders and promising that he will commit others; the police extract clues from the letter, using the new techniques of fingerprinting and handwriting analysis. Under mounting pressure from the Prussian government, the police work around the clock. Inspector Karl Lohmann, head of the homicide squad, instructs his men to intensify their search and to check the records of recently released psychiatric patients, focusing on any with a history of violence against children. They stage frequent raids to question known criminals, disrupting organized crime so badly that Der Schränker (The Safecracker) summons the crime bosses of Berlin's Ringvereine to a conference. They decide to organize their own manhunt, using beggars to watch the children.[11] Meanwhile, the police search Beckert's rented rooms, find evidence that he wrote the letter there, and lie in wait to arrest him.[12] Beckert sees a young girl in the reflection of a shop window and begins to follow her, but stops when the girl meets her mother. He encounters another girl and befriends her, but the blind vendor recognizes his whistling. The vendor tells one of his friends, who follows Beckert and sees him inside a shop with the girl. As the two exit onto the street, the man chalks a large "M" (for Mörder, "murderer" in German) on his palm, pretends to trip, and bumps into Beckert, marking the back of his overcoat so that other beggars can easily track him.[12] The girl notices the chalk and offers to clean it for him, but before she finishes, Beckert realizes he is being watched and flees the scene, abandoning the girl. Attempting to evade the beggars' surveillance, Beckert hides inside a large office building just before the workers leave for the evening. The beggars call Der Schränker, who arrives at the building with a team of other criminals. They capture and torture one of the watchmen for information and, after capturing the other two, search the building and catch Beckert in the attic. When one of the watchmen trips the silent alarm, the criminals narrowly escape with their prisoner before the police arrive. Franz, one of the criminals, is left behind in the confusion and captured by the police. By falsely claiming that one of the watchmen was killed during the break-in, Lohmann tricks Franz into admitting that the gang only broke into the building to find Beckert and revealing where he will be taken. The criminals drag Beckert to an abandoned distillery to face a kangaroo court. He finds a large, silent crowd awaiting him. Beckert is given a "lawyer", who gamely argues in his defense but fails to win any sympathy from the improvised "jury". Beckert delivers an impassioned monologue, saying that he cannot control his homicidal urges, while the other criminals present break the law by choice, and further questioning why they as criminals believe they have any right to judge him: What right have you to speak? Criminals! Perhaps you are even proud of yourselves! Proud of being able to crack into safes,[13] or climb into buildings or cheat at cards. All of which, it seems to me, you could just as easily give up, if you had learned something useful, or if you had jobs, or if you were not such lazy pigs. I can not help myself! I have no control over this evil thing that is inside me—the fire, the voices, the torment![14] Beckert pleads to be handed over to the police, asking: "Who knows what it is like to be me?" His "lawyer" points out that Der Schränker, presiding over the proceedings, is wanted on three counts of manslaughter, and that it is unjust to execute an insane man. Just as the enraged mob is about to kill Beckert, the police arrive to arrest both him and the criminals. As a panel of judges prepares to deliver a verdict at Beckert's real trial, the mothers of three of his victims weep in the gallery. Elsie's mother says that "No sentence will bring the dead children back" and that "One has to keep closer watch over the children". The screen fades to black as she adds, "All of you".[15]

AMARCORD (Federico Fellini, 1973)

In Borgo San Giuliano, a village near Rimini, the arrival of fluffy poplar seeds floating on the wind heralds the arrival of spring. As night falls, the inhabitants make their way to the village square for a traditional bonfire in which the Old Witch of Winter is ritually burned. The townspeople play pranks on one another, explode fireworks, cavort with loose women and make lewd noises when the civically minded lawyer lectures on the history of the region. School under Fascism is a tedious cavalcade of dry facts recited by instructors of varying levels of engagement and skill. All Titta and his fellow students can do is goof off or skip class when not called upon to solve math problems or identify obscure historical details. When Titta goes to confession, he manages to avoid telling Don Balosa about his masturbatory activities and attempt to seduce Gradisca, a glamorous older woman, because the priest is more concerned with floral arrangements. Fascist officials come for a tour, and the schoolchildren are required to perform athletic routines for their approval. Titta's friend Ciccio daydreams about being married to his crush, Aldina, by the giant face of Mussolini. Surreptitiously wired into the bell tower of the town church, a gramophone plays a recording of "The Internationale", but it is soon shot at and destroyed by gun-crazy Fascists. Owing to his anarchist past, Titta's father Aurelio is brought in for questioning and forced to drink castor oil. He limps home in a nauseous state to be washed by his wife, Miranda. One summer afternoon, the family visits Uncle Teo, Aurelio's brother, confined to an insane asylum. They take him out for a day in the country, but he escapes into a tree, repeatedly yelling, "Voglio una donna!" ("I want a woman!"). All attempts to bring him down are met with stones that Teo carries in his pockets. A dwarf nun and two orderlies finally arrive on the scene. Marching up the ladder, the nun reprimands Teo, who obediently agrees to return to the asylum. Fall arrives. The town's inhabitants embark in small boats to meet the passage of the SS Rex, the regime's proudest technological achievement. By midnight they have fallen asleep waiting for its arrival. Awakened by a foghorn, they watch in awe as the liner sails past, capsizing their boats in its wake. Titta's grandfather wanders lost in a disorienting fog so thick it seems to smother the house and the autumnal landscape. Walking out to the town's Grand Hotel, Titta and his friends find it boarded up. Like zombies, they waltz on the terrace with imaginary female partners enveloped in the fog. The annual car race provides the occasion for Titta to daydream of winning the grand prize, Gradisca. One evening he visits the buxom tobacconist at closing time. She becomes aroused when he demonstrates he is strong enough to lift her, but is annoyed when he becomes overwhelmed as she presses her breasts into his face. She gives him a cigarette then coldly sends him home. Winter brings with it record snowfall. Miranda nurses a sick Titta to health, then as spring arrives again, dies of an illness herself. Titta is devastated. Later, the village attends the reception for Gradisca's marriage to a Fascist officer. As Gradisca drives off with her Carabiniere, someone notices that Titta has gone too.

L'ATALANTE (Jean Vigo, 1934)

Jean, the captain of the canal barge L'Atalante, marries Juliette in her village. They decide to live aboard L'Atalante along with Jean's crew, the scruffy and eccentric Père Jules and the cabin boy. The couple travel to Paris to deliver cargo, enjoying a makeshift honeymoon en route. Jules and the cabin boy are not used to a woman aboard, and when Jean discovers Juliette and Jules talking in Jules' quarters, Jean flies into a jealous rage by smashing plates and by sending Jules' numerous cats scattering. Arriving in Paris, Jean promises Juliette a night out, but Jules and the cabin boy disembark to go see a fortune teller. This disappoints Juliette because Jean cannot leave the barge unattended. Later, however, Jean takes Juliette to a dance hall. There, they meet a street peddler who flirts with Juliette, dances with her, and asks her to run off with him. This leads to a scuffle with Jean, after which he drags Juliette back to the barge. Juliette still wants to see the nightlife in Paris however, so she sneaks off the barge to go see the sights. When Jean discovers that she left the barge, he furiously casts off and leaves Juliette behind in Paris. Unaware that Jean has already sailed, Juliette goes window shopping. When she returns and finds the barge gone, she tries to buy a train ticket to the barge's next destination, but someone steals her purse before she is able to. She is forced to find a job so she can afford to live and eventually travel to Le Havre to meet the barge: her activities during this period are unclear. Meanwhile, Jean comes to regret his decision, and slips into depression. He is summoned by his company's manager, but Jules manages to keep him from losing his job. Jean recalls a folk tale that Juliette once told him. She said that one can see the face of one's true love in the water. He attempts to recreate this by dunking his head in a bucket, and, failing that, jumping into the river. Jules decides to leave and try to find Juliette. He finds her in a store and they return to the barge where the couple reunite and happily embrace each other.

PULP FICTION (Quentin Tarantino, 1994)

Narrative structure Pulp Fiction's narrative is told out of chronological order and follows three main interrelated stories that each have a different protagonist: Vincent Vega, a hitman; Butch Coolidge, a prizefighter; and Jules Winnfield, Vincent's business partner.[10] The film begins with a diner hold-up staged by a couple, then begins to shift from one storyline to another before returning to the diner for the conclusion. There are seven narrative sequences; the three primary storylines are preceded by intertitles: "Prologue - The Diner" (i) Prelude to "Vincent Vega and Marsellus Wallace's Wife" "Vincent Vega and Marsellus Wallace's Wife" Prelude to "The Gold Watch" (a - flashback, b - present) "The Gold Watch" "The Bonnie Situation" "Epilogue - The Diner" (ii) If the seven sequences were ordered chronologically, they would run: 4a, 2, 6, 1, 7, 3, 4b, 5. Sequences 1 and 7 partially overlap and are presented from different points of view, as do sequences 2 and 6. According to Philip Parker, the structural form is "an episodic narrative with circular events adding a beginning and end and allowing references to elements of each separate episode to be made throughout the narrative".[11] Other analysts describe the structure as a "circular narrative".[12][13] Summary Hitmen Jules Winnfield and Vincent Vega arrive at an apartment to retrieve a briefcase for their boss, gangster Marsellus Wallace, from a business partner, Brett. After Vincent checks the contents of the briefcase, Jules shoots one of Brett's associates. He declaims a passage from the Bible, and he and Vincent kill Brett for trying to double-cross Marsellus. Another man bursts out of the bathroom and fires at them, but every shot misses; after briefly checking themselves for wounds, Jules and Vincent shoot him dead. While driving away with Brett's associate Marvin, Jules professes that their survival was a miracle, which Vincent disputes. Vincent accidentally shoots Marvin in the face, killing him, and covering Vincent, Jules, and the car interior in blood in broad daylight. They hide the car at the home of Jules's friend Jimmie, who demands they deal with the problem before his wife, Bonnie, comes home. Marsellus sends a cleaner, Winston Wolfe, who directs Jules and Vincent to clean the car, hide the body in the trunk, dispose of their bloody clothes, and take the car to a junkyard. At a diner, Jules tells Vincent that he plans to retire from his life of crime, convinced that their "miraculous" survival at the apartment was a sign of divine intervention. While Vincent is in the bathroom, a couple, "Pumpkin" and "Honey Bunny", hold up the restaurant and demand Marsellus's briefcase. Jules distracts Pumpkin with its contents, and then overpowers him and holds him at gunpoint; Honey Bunny becomes hysterical and points her gun at Jules. Vincent returns with his gun aimed at her, but Jules defuses the situation. He recites the biblical passage, expresses ambivalence about his life of crime, and allows the robbers to take his cash and leave. Jules and Vincent leave the diner with the briefcase in hand. They take the briefcase to Marsellus and wait while he bribes boxer Butch Coolidge to take a dive in his upcoming match. The next day, Vincent purchases heroin from his drug dealer, Lance. He shoots up and drives to meet Marsellus's trophy wife, Mia, having agreed to escort her while Marsellus is out of town. They eat at Jack Rabbit Slim's, a 1950s-themed restaurant, and participate in a twist contest, then return home. While Vincent is in the bathroom, Mia finds his heroin and snorts it, mistaking it for cocaine. She suffers an overdose; Vincent rushes her to Lance's house, where they revive her with an injection of adrenaline into her heart. Vincent drops Mia off at her home, and the two agree never to tell Marsellus about the incident. Butch bets the bribe money on himself and double-crosses Marsellus, winning the bout but accidentally killing his opponent as well. Knowing that Marsellus will send hitmen after him, he prepares to flee with his girlfriend, Fabienne, but discovers she has forgotten to pack a gold watch passed down to him through his family. Returning to his apartment to retrieve it, he notices a gun on the kitchen counter and hears the toilet flush. When Vincent exits the bathroom, Butch shoots him dead and departs. When Marsellus spots Butch stopped at a traffic light, Butch rams his car into him, then gets hit by an oncoming vehicle, leaving both of them injured and dazed. Once Marsellus regains consciousness, he shoots at Butch, chasing him into a pawnshop. Butch gains the upper hand and is about to shoot Marsellus, but the shop owner, Maynard, captures them at gunpoint and binds and gags them in the basement. Maynard and his accomplice Zed take Marsellus into another room and begin to rape him, leaving the "gimp" - a silent figure in a bondage suit - to watch over Butch. Butch breaks loose and knocks the gimp unconscious. Instead of fleeing, he decides to save Marsellus, and arms himself with a katana from the pawnshop. He kills Maynard and frees Marsellus, who shoots Zed in the crotch with Maynard's shotgun. Marsellus informs Butch that they are even, and to tell no one about the rape and to depart Los Angeles forever. Butch picks up Fabienne on Zed's motorcycle, and they ride away.

RASHOMON (Akira Kurosawa, 1950)

Prologue[edit] The story begins in Heian era Kyoto. A woodcutter and a priest are sitting beneath the Rashōmon city gate to stay dry during a downpour. A commoner joins them to shelter from the rain, and they recount a disturbing story about an assault and murder that took place. The Woodcutter and The Priest are baffled, unable to understand how everyone involved could have given such radically different accounts of the same event. The Woodcutter claims he found the body of a murdered samurai while looking for wood in the forest, three days earlier. He first found a woman's hat (which belonged to the samurai's wife), then a samurai cap (which belonged to The Samurai), then cut rope (which had been used to bind him), and then an amulet. Finally, he discovered The Samurai's body and fled to notify the authorities. The Priest claims he saw The Samurai traveling with his wife the same day the murder happened. Both men were summoned to testify in court, where a fellow witness presented a captured bandit, who claimed to have followed the couple after coveting the woman when he glimpsed her traveling through the forest. The bandit's story[edit] Tajōmaru, the notorious outlaw bandit, claimed that he tricked The Samurai to step off the mountain trail with him to look at a cache of ancient swords he had discovered. In a grove, he tied The Samurai to a tree, then brought The Wife there with the intention of assaulting her. Initially, she tried to defend herself with a dagger but Tajōmaru overpowered and then seduced her. The Wife, ashamed, begged Tajōmaru to duel her husband to the death, to save her from the guilt, shame, and dishonor of having been with two men. She promised to go with whichever man won the battle. Tajōmaru honorably set The Samurai free and dueled with him. They fought skillfully and fiercely, with Tajōmaru praising The Samurai's swordsmanship. In the end, Tajōmaru killed The Samurai, but then realized that The Wife had fled during the duel. At the end of his testimony, he was asked about the expensive dagger used by The Wife to defend herself. Tajōmaru claimed he had forgotten about it in the confusion after the fight, and lamented leaving it behind, as the dagger's pearl inlay made it very valuable. The priest notes that men lie, even to themselves, because they are weak. The Wife's story[edit] The Wife's testimony was completely different. She claimed that Tajōmaru assaulted her, then left immediately. Once he was gone, she cut her husband free from his bonds and begged him for forgiveness. Instead, he coldly stared at her, implicitly blaming her for the assault. She begged her husband to kill her so that her honor would be restored and she would be at peace. Instead, he continued to stare at her with immense loathing. His contempt distressed her so greatly, she fainted while standing over him with the dagger in her hands. She awoke to find her husband dead, the dagger in his chest. In shock, she wandered through the forest until she came upon a pond. She attempted to drown herself, but failed. The Commoner notes that women use their tears to hide lies, and end up fooling themselves. The Samurai's story[edit] Lastly, the court heard the testimony of The Samurai, as told through a medium. The Samurai claimed that after the assault, Tajōmaru asked The Wife to marry him. To The Samurai's great shame, his wife accepted the proposal but asked Tajōmaru to first kill her husband. Disgusted by The Wife's request, Tajōmaru grabbed her and gave The Samurai the choice to let her go or have her killed. In court, The Samurai noted that for this gesture, he was almost willing to forgive Tajōmaru. The Wife broke free and fled, with Tajōmaru giving chase. Tajōmaru failed to recapture her, gave up, and returned to set The Samurai free. Tajōmaru apologized and departed. Humiliated, The Samurai killed himself with his wife's dagger. Later, he felt someone remove the dagger from his chest, but could not tell who. The Woodcutter's story[edit] The Woodcutter fiercely proclaims that all three stories are falsehoods and in particular notes that The Samurai was killed by a sword, not a dagger. Catching this, The Commoner gets The Woodcutter to admit that he witnessed the assault and murder, but declined the opportunity to testify because he did not want to get involved. According to The Woodcutter, after the assault, Tajōmaru begged The Wife to marry him. Instead, she freed her husband, hoping that he would kill Tajōmaru. However, The Samurai refused to fight, explaining to Tajōmaru that he would not risk his life for a ruined woman. Hearing this, Tajōmaru rescinded his promise to marry The Wife and prepared to leave. The Wife criticized both men, calling them dishonorable cowards: Tajōmaru because he would not keep his promise to kill The Samurai and marry her; The Samurai because he would not kill Tajōmaru to avenge his own honor (saying a real man would kill Tajōmaru and then demand that she kill herself). The two men unwillingly fought, both clearly terrified. It was a pitiful duel, nothing like what Tajōmaru described in his testimony (even The Wife seemed to regret having provoked the battle). Ultimately, Tajōmaru won through a stroke of luck, and The Samurai was killed while begging for his life. After Tajōmaru won, The Wife fled. Tajōmaru took The Samurai's sword and limped away. Epilogue[edit] The Woodcutter, The Priest, and The Commoner are interrupted by the sound of a crying baby. They find a baby abandoned in a basket, with a kimono and a protective amulet. The Commoner steals the kimono and amulet. The Woodcutter reproaches The Commoner for stealing from an orphaned child and attempts to stop him. The Commoner overpowers The Woodcutter, and chastises him as a hypocrite: The Commoner has correctly deduced that the true reason The Woodcutter declined to testify is because he's the one who took the valuable dagger. The Commoner leaves Rashōmon gate, claiming that all men and women are motivated only by self-interest. Meanwhile, The Priest has been attempting to soothe the baby. After The Commoner departs, The Woodcutter attempts to take the baby. The Priest violently recoils: his experiences at the trial and at Rashōmon gate have destroyed his faith in humanity. The Woodcutter explains that he intends to raise the child: he already has six of his own. This revelation recasts The Woodcutter's story and motivations, restoring The Priest's faith in humanity. As The Woodcutter prepares to leave with the child, the rain stops and the clouds part, revealing the sun.

SANSHO THE BAILIFF (Kenji Mizoguchi, 1954)

Sansho the Bailiff is a jidai-geki set in the Heian period of feudal Japan, with the story taking place in the latter part of the eleventh century. A virtuous governor is banished by a feudal lord to a far-off province. His wife, Tamaki, and children, Zushiō and Anju, are sent to live with her brother. Just before they are separated, Zushiō's father tells him, "Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others." He urges his son to remember his words and gives him a statuette of Kannon, the Goddess of Mercy. Years later, the wife and children journey to his exiled land but are tricked on the journey by a treacherous priestess. The mother is sold into prostitution in Sado and the children are sold by slave traders to a manorial estate in which slaves are brutalized and branded when they try to escape. The estate, protected under the Minister of the Right, is administered by the eponymous Sanshō. Sanshō's son Tarō, the second-in-charge, is a much more humane master and convinces the children to survive before they can escape to find their mother. The children grow to young adulthood at the slave camp. Anju still believes in the teachings of her father but Zushiō has repressed his humanity, becoming one of the brutal overseers, believing that this is the only way to survive. At work, Anju hears a song from a new slave girl from Sado which mentions her and her brother in the lyrics, leading her to believe their mother is still alive. She tries to convince Zushiō to escape but he refuses, citing the difficulty and their lack of money. Zushiō is ordered to take Namiji, an older woman who is acutely ill, out of the slave camp to die in the wilderness. Anju accompanies them and while they break branches to provide covering for the dying woman, they recall a similar act from their earlier childhood. Zushiō changes his mind and asks Anju to escape with him to find their mother. Anju asks him to take Namiji with him, convincing her brother she will stay behind to distract the guards. Zushiō promises to return for Anju. However, after Zushiō's escape, Anju commits suicide by walking into a lake, drowning herself so that she will not be tortured and forced to reveal her brother's whereabouts. After Zushiō escapes, he finds Tarō at an Imperial temple. Zushiō asks him to care for Namiji so that he can go to Kyoto to appeal to the Chief Advisor regarding the appalling slave conditions. Although initially refusing to see him, the Chief Advisor realizes who Zushiō is after seeing his statuette of Kannon. He then tells Zushiō that his exiled father died the year before and offers him the post of the governor of Tango, the province where Sanshō's manor is situated. As Governor of Tango, Zushiō issues an edict forbidding slavery on both public and private grounds. No one believes he can do this since governors have no power over private grounds. Although Sanshō offers initial resistance, Zushiō orders him and his men arrested, freeing the slaves. When he looks for Anju among Sanshō's slaves, he learns that his sister sacrificed herself for his freedom. The manor is burned down by the ex-slaves while Sanshō and his family are exiled. Zushiō resigns immediately afterwards, stating that he has done what he intended to do. Zushiō goes to Sado for his aged mother, whom he believes is still a courtesan. After hearing a man state that she died in a tsunami, he goes to the beach she is supposed to have died on. He finds a decrepit old woman sitting on the beach singing the same song he heard years before. Realizing she is his mother, he reveals his identity to her, but Tamaki, who has gone blind, assumes he is a trickster until he gives her the statuette of Kannon, which she recognizes by touch. Zushiō tells her that both Anju and their father have died and apologizes for not coming for her in the pomp of his governor's post. Instead he followed his father's proverb, choosing mercy toward others by freeing Sanshō's slaves. He tells his mother he has been true to his father's teachings, which she acknowledges poignantly.

THE MAGNIFICENT AMBERSONS (Orson Welles, 1942)

The Ambersons are by far the wealthiest family in their Midwestern city in the last few decades of the 19th century. As a young man, Eugene Morgan courts Isabel Amberson, but she rejects him after he publicly embarrasses her. She instead marries Wilbur Minafer, a passionless man she does not love, and spoils their child, George. The townspeople long to see George get his "comeuppance." In the early 20th century, Major Amberson gives a large party at the Amberson Mansion for George, who is home from college for the holidays. Eugene, now a widower who has just returned to town after 20 years, attends. George dislikes Eugene, whom he sees as a social climber, and ridicules Eugene's investment in the automobile. He instantly takes to Eugene's daughter Lucy. The next day, George and Lucy take a sleigh ride. They pass Eugene, his aunt Fanny, Isabel, and Isabel's brother, Jack. Eugene's "horseless carriage" has gotten stuck in the snow, and George jeers for them to "get a horse." The Amberson sleigh then overturns, and Eugene, after his vehicle is mobile again, gives everyone a ride back home. George is humiliated by the incident and angered by Eugene's attentions toward Isabel and his mother's obvious affection for Eugene. Wilbur Minafer loses a substantial amount of money on bad investments and soon dies. George is largely unmoved by his father's death. The night after the funeral, George teases Fanny, who is besotted with Eugene. Time passes, and Eugene becomes very wealthy manufacturing automobiles, and again courts Isabel, who refuses to risk George's disapproval by telling him about their love. Lucy rejects George's marriage proposal by saying that he has no ambition in life other than to be wealthy and keep things as they are, and she leaves town. The Ambersons invite the lonely Eugene to dinner, where George, blaming him for turning Lucy against him, criticizes automobiles. The Ambersons are shocked by his rudeness, but Eugene says that George may turn out to be right. That evening, George learns from Aunt Fanny that Eugene has been courting Isabel. Enraged, he rudely confronts a neighbor for spreading gossip about his mother. The next day, George refuses to let Eugene see his mother. Jack tells Isabel about George's terrible behavior, but she declines to do anything that might upset her son. Eugene writes to Isabel and asks her to choose between her son and his love. Isabel chooses George. Lucy returns home to find that George is taking his mother to Europe on an extended trip. George talks to Lucy in an attempt to discover if she loves him. She feigns indifference, and they part. Lucy is heartbroken, however, and faints. Months pass, and Isabel is seriously ill, but George will not allow her to come home for fear that she will renew her relationship with Eugene. He relents only when she starts to die. George refuses to let Eugene go upstairs to visit Isabel on her deathbed although she begs to see Eugene one last time. After Isabel's death, Major Amberson sinks into senility and dies. His estate is worthless. Jack leaves town to take a job in another city. George intends to live on Fanny's income while he trains to be a lawyer, but she reveals that she lost everything in bad investments, and they are left with only a few hundred dollars to live on for the rest of the year. Eugene asks Lucy if she will reconcile with George. Lucy instead tells her father a story about an American Indian chief who was "pushed out on a canoe into the sea" when he became too obnoxious, which Eugene understands to be an analogy for George. Penniless, George gives up his job as a law clerk and finds higher paying work in a chemical factory, which gives him enough money for himself and Fanny to live on. George wanders the city and is dazed by the modern factories and slums, which have grown up around him. In his last night in the Amberson mansion before it is sold, George prays by his dead mother's bed. The narrator says that no one is around to see him receive his comeuppance. George is seriously injured by an automobile. Lucy and Eugene go to see him at the hospital and reconcile with him. In a hospital corridor, Eugene tells Fanny that Isabel's spirit had inspired Eugene to bring George "under shelter again," which implies that his and Fanny's financial security was assured.

THE BATTLE OF ALGIERS (Gillo Pontecorvo, 1966)

The Battle of Algiers reconstructs the events that occurred in the capital city of French Algeria between November 1954 and December 1957, during the Algerian War of Independence. The narrative begins with the organization of revolutionary cells in the Casbah. Because of partisan warfare between the Algerian locals and Pied-Noir, in which both sides commit acts of increasing violence, France sends French Army paratroopers to the city to fight against and capture members of the National Liberation Front (FLN). The paratroopers are depicted as neutralizing the whole of the FLN leadership through either assassination or capture. The film ends with a coda depicting nationalist demonstrations and riots, suggesting that although France won the Battle of Algiers, it lost the Algerian War.[3] The tactics of the FLN guerrilla insurgency and the French counter insurgency, and the uglier incidents of the war are depicted. Both colonizer and colonized commit atrocities against civilians. The FLN commandeer the Casbah via summary execution of Algerian criminals and suspected French collaborators; they commit terrorism, including actions like the real-life Milk Bar Café bombing, to harass Europeans. The security forces resort to killings and indiscriminate violence against the opposition. French paratroops are depicted as routinely using torture, intimidation, and murder.[3] Pontecorvo and Solinas created several protagonists in their screenplay who are based on historical war figures. The story begins and ends from the perspective of Ali la Pointe (Brahim Haggiag), a petty criminal who is politically radicalized while in prison. He is recruited by FLN commander El-hadi Jafar, played by Saadi Yacef, who was a veteran FLN commander.[7] Lieutenant-Colonel Mathieu, the paratroop commander, is the principal French character. Other characters are the boy Petit Omar, a street urchin who is an FLN messenger; Larbi Ben M'hidi, a top FLN leader who provides the political rationale for the insurgency; and Djamila, Zohra, and Hassiba, three FLN women urban guerrillas who carry out a terrorist attack. The Battle of Algiers also features thousands of Algerian extras. Pontecorvo intended to have them portray the "Casbah-as-chorus", communicating with chanting, wailing, and physical effect.[2]

JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman, 1975)

The film examines a widowed mother's regimented schedule of cooking, cleaning, mothering, and running errands over three days. The woman (whose name, Jeanne Dielman, is only discerned from the title and a letter she reads to her son), earns money by having sex with a different client each afternoon before her son arrives home from school. Like her other activities, Jeanne's sex work is part of a mundane routine she performs daily by rote. After a visit by a client on the second day, Jeanne's orderly behavior begins to subtly unravel. She overcooks potatoes while preparing dinner, then wanders around the apartment carrying the potato pot. She forgets to cover the porcelain in which she keeps her money, forgets to turn off lights in the rooms she leaves, misses a button on her house coat, and drops a newly washed spoon. The alterations to Jeanne's routine continue until her client arrives on the third day. During sex she either has an orgasm or is disgusted by what she is doing, then dresses herself and stabs the man to death with a pair of scissors. She then sits quietly at her dining room table.

CASABLANCA (Michael Curtiz, 1942)

In December 1941, American expatriate Rick Blaine owns a nightclub and gambling den in Casablanca. "Rick's Café Américain" attracts a varied clientele, including Vichy French and Nazi German officials, refugees desperate to reach the neutral United States, and those who prey on them. Although Rick professes to be neutral in all matters, he ran guns to Ethiopia during the Second Italo-Ethiopian War and fought on the Republican side in the Spanish Civil War. Despite feigning indifference, he demonstrates sympathy for the refugees' plight and disdain for the repressive, fascist regimes. Petty crook Ugarte boasts to Rick of "letters of transit" obtained by murdering two German couriers. The papers allow the bearers to travel freely around German-occupied Europe and to neutral Portugal; they are priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club and persuades Rick to hold them. Before he can meet his contact, Ugarte is arrested by the local police under Captain Louis Renault, the unabashedly corrupt prefect of police. Ugarte dies in custody without revealing that Rick has the letters. Then the reason for Rick's cynical nature—former lover Ilsa Lund—enters his establishment. Spotting Rick's friend and house pianist, Sam, Ilsa asks him to play "As Time Goes By". Rick storms over, furious that Sam disobeyed his order never to perform that song again, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czechoslovak Resistance leader. The two need the letters to escape to America, as German Major Strasser has come to Casablanca to arrest Laszlo. When Laszlo makes inquiries, Signor Ferrari, an underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters of transit. Laszlo returns to Rick's cafe that night and tries to buy the letters. Rick refuses to sell, telling Laszlo to ask his wife why. They are interrupted when Strasser leads a group of German officers in singing "Die Wacht am Rhein". Laszlo orders the house band to play "La Marseillaise". When the bandleader looks to Rick, the latter nods, and Laszlo leads the band in proud defiance. Patriotic fervor grips the crowd, and everyone joins in, drowning out the Germans. Fearing the spirit Laszlo can inspire, Strasser demands that Renault close the club. Bogart and Bergman Later, Ilsa confronts Rick in the deserted café; when he refuses to give her the letters, she threatens him with a gun but then confesses that she still loves him. She explains that when they met and fell in love in Paris in 1940, she believed her husband had been killed while attempting to escape from a concentration camp. While preparing to flee with Rick from the city during the Battle of France, Ilsa learned Laszlo was alive and hiding near Paris. She left Rick without explanation to nurse her sick husband. Rick's bitterness dissolves. He agrees to help, letting her believe she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a trumped-up charge, Rick persuades Renault to release him by promising to set him up for a much more serious crime: possession of the letters. To allay Renault's suspicions, Rick explains that he and Ilsa will leave for America. When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with Laszlo, telling her that she would regret it if she stayed, "Maybe not today, maybe not tomorrow, but soon and for the rest of your life." Strasser, tipped off by Renault, drives up alone. When Strasser ignores Rick's warnings and attempts to stop the plane, Rick shoots him dead. When policemen arrive, Renault pauses, then orders them to "round up the usual suspects." He suggests to Rick that they join the Free French in Brazzaville. As they walk away into the fog, Rick says, "Louis, I think this is the beginning of a beautiful friendship."

SOME LIKE IT HOT (Billy Wilder, 1959)

In February 1929, in Prohibition-era Chicago, Joe is a jazz saxophone player and an irresponsible, impulsive ladies' man; his anxious friend Jerry is a jazz double bass player. They work in a speakeasy owned by gangster "Spats" Colombo. Tipped off by informant "Toothpick" Charlie, the police raid the joint. Joe and Jerry escape, but later accidentally witness Spats and his henchmen gunning down "Toothpick" and his gang in revenge, which was inspired by the real-life Saint Valentine's Day Massacre.[6] Spats and his gang see them as they flee. Broke, terrified, and desperate to get out of town, Joe and Jerry disguise themselves as women named Josephine and Daphne so they can join Sweet Sue and her Society Syncopators, an all-female band headed by train to Miami. On the train, Joe and Jerry befriend Sugar Kane, the band's vocalist and ukulele player. Joe and Jerry become obsessed with Sugar and compete for her affection while maintaining their disguises. Sugar confides to "Josephine" that she has sworn off male saxophone players, who have taken advantage of her in the past. She hopes to find a gentle, bespectacled millionaire in Florida. During the forbidden drinking and partying on the train, "Josephine" and "Daphne" become close friends with Sugar, and struggle to remember that they are supposed to be girls and cannot make passes at her. Once in Miami, Joe woos Sugar by assuming a second disguise as millionaire Junior, the heir to Shell Oil while feigning indifference to her. An actual millionaire, the much-married, aging, mama's-boy Osgood Fielding III, persistently pursues "Daphne", whose refusals only increase his appetite. He invites "her" for a champagne supper on his yacht, New Caledonia. Joe convinces Jerry to keep Osgood occupied onshore so that "Junior" can take Sugar to Osgood's yacht and pass it off as his own. Once on the yacht, "Junior" tells Sugar that psychological trauma has left him impotent and frigid, but that he would marry anyone who could cure him. Sugar tries to arouse him, with considerable success. Meanwhile, "Daphne" and Osgood dance the tango ("La Cumparsita") till dawn. When Joe and Jerry get back to the hotel, Jerry announces that Osgood has proposed marriage to "Daphne" and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot marry Osgood. Drive-in advertisement from 1959 The hotel hosts a conference for "Friends of Italian Opera", which is a major meeting of the national crime syndicate, presided over by "Little Bonaparte". Spats and his gang recognize Joe and Jerry as the witnesses they have been looking for. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe conceals his deception from Sugar by telling her, over the telephone, that he, Junior, must marry a woman of his father's choosing and move to Venezuela for financial reasons. Sugar is distressed and heartbroken. Joe and Jerry evade Spats' men by hiding under a table at the syndicate banquet. "Little Bonaparte" has Spats and his men killed at the banquet; again, Joe and Jerry are witnesses and they flee through the hotel. Joe, dressed as Josephine, sees Sugar onstage singing a lament to lost love. He runs onto the platform and kisses her, causing Sugar to realize that Josephine and Junior are the same person. Jerry persuades Osgood to take "Daphne" and "Josephine" away on his yacht. Sugar runs from the stage at the end of her performance and jumps aboard Osgood's launch just as it is leaving the dock with Joe, Jerry, and Osgood. Joe confesses the truth to Sugar and tells her that she deserves better, but Sugar wants him anyway, realizing he is the first man to genuinely care for her. Meanwhile, Jerry tries to get out of his promise to marry Osgood, by listing reasons why "Daphne" and Osgood cannot marry, ranging from a smoking habit to infertility. Osgood, smiling broadly, has answers for all of them. Exasperated, Jerry rips off the wig, switches to his normal voice, and says "I'm a man!" Still smiling, Osgood replies "Well, nobody's perfect," leaving Jerry speechless.

THE LEOPARD (Luchino Visconti, 1963)

In Sicily in the year 1860, Don Fabrizio Corbera, Prince of Salina, enjoys the customary comforts and privileges of his ancestry. War has broken out between the armies of Francis II of the Two Sicilies and the insurgent volunteer redshirts of Giuseppe Garibaldi. Among the rebels is the Prince's nephew, Tancredi, whose romantic politics the Prince hesitantly accepts with some whimsical sympathy. Upset by the uprising, the Prince departs to Palermo. Garibaldi's army subjugate the city and expropriate Sicily from the Bourbons. The Prince muses upon the inevitability of change, with the middle class displacing the ruling class while on the surface everything remains the same. Refusing to bend to the tide of changes, the Prince departs to his summer palace at Donnafugata. A new national assembly calls a plebiscite and the nationalists win 512-0, thanks to the corruption and support of the town's leading citizen, Don Calogero Sedara. Don Calogero is invited to the villa of the Salinas, and he brings his daughter Angelica with him. Both the Prince and Tancredi are taken by Angelica's beauty. Soon thereafter, Tancredi makes plans to ask for her hand in marriage. The Prince sees the wisdom of the match because he knows that, due to his nephew's vaulting ambition, Tancredi will be in need of ready cash, which Angelica's father will happily provide. With the blessing of both the Prince of Salina and Don Calogero, Tancredi and Angelica get engaged. A visitor from the constituent assembly comes to the villa. He pleads with the noblemen gathered there to join the senate and to guide the state; he hopes that the Prince's great compassion and wisdom will help alleviate the perceived poverty and alleged ignorance on the streets of Sicily. However, the Prince demurs and refuses this invitation, observing that Sicily prefers its traditions to the delusions of modernity because its people are proud of their ancient heritage. He sees a future where the leopards and the lions, along with the sheep and the jackals, will all live according to the same law, but he does not want to be a part of this democratic vision. He notices that Tancredi has shifted allegiance from the insurgent Garibaldi to King Vittorio's newly-formed army, and wistfully judges that his nephew is the kind of opportunist and time-server who will flourish in the new Italy. A great ball is held at the villa of a neighbouring Prince which is attended by the Salinas including Tancredi. Afflicted by a combination of melancholia and the ridiculousness of the nouveau riche, the Prince wanders forlornly from chamber to chamber, increasingly disaffected by the entire edifice of the society he so gallantly represents - until Angelica approaches and asks him to dance. Stirred and momentarily released from his cares, the Prince accepts, and once again he recaptures and presents the elegant and dashing figure of his past. However, he becomes disenchanted and leaves the ball alone. He asks Tancredi to arrange carriages for his family, and walks with a heavy heart to a dark alley that symbolises Italy's inordinate and fading past which he inhabits.

BREATHLESS (Jean-Luc Godard, 1960)

Michel is a youthful, dangerous criminal who models himself on the film persona of Humphrey Bogart. After stealing a car in Marseille, Michel shoots and kills a policeman who has followed him onto a country road. Penniless and on the run from the police, he turns to an American love interest, Patricia, a student and aspiring journalist, who sells the New York Herald Tribune on the boulevards of Paris. The ambivalent Patricia unwittingly hides him in her apartment as he simultaneously tries to seduce her and call in a loan to fund their escape to Italy. Patricia says she is pregnant, probably with Michel's child. She learns that Michel is on the run when questioned by the police. Eventually she betrays him, but before the police arrive, she tells Michel what she has done. He is somewhat resigned to a life in prison, and does not try to escape at first. The police shoot him in the street, and after running along the block, he dies "à bout de souffle" ("out of breath"). MICHEL: C'est vraiment dégueulasse.PATRICIA: Qu'est-ce qu'il a dit?VITAL: Il a dit que vous êtes vraiment "une dégueulasse".PATRICIA: Qu'est-ce que c'est "dégueulasse"?[6][7]

2001: A SPACE ODYSSEY (Stanley Kubrick, 1968)

In a prehistoric veldt, a tribe of hominins is driven away from its water hole by a rival tribe. The next day, they find an alien monolith has appeared in their midst. They then learn how to use a bone as a weapon and, after their first hunt, return to drive their rivals away with it. Millions of years later, Dr. Heywood Floyd, Chairman of the United States National Council of Astronautics, travels to Clavius Base, an American lunar outpost. During a stopover at Space Station 5, he meets Russian scientists who are concerned that Clavius seems to be unresponsive. He refuses to discuss rumours of an epidemic at the base. At Clavius, Heywood addresses a meeting of personnel to whom he stresses the need for secrecy regarding their newest discovery. His mission is to investigate a recently found artefact, a monolith buried four million years earlier near the lunar crater Tycho. As he and others examine the object, it is struck by sunlight, upon which it emits a high-powered radio signal. Eighteen months later, the American spacecraft Discovery One is bound for Jupiter, with mission pilots and scientists Dr. David "Dave" Bowman and Dr. Frank Poole on board, along with three other scientists in suspended animation. Most of Discovery's operations are controlled by HAL, a HAL 9000 computer with a human personality. When HAL reports the imminent failure of an antenna control device, Dave retrieves it in an extravehicular activity (EVA) pod, but finds nothing wrong. HAL suggests reinstalling the device and letting it fail so the problem can be verified. Mission Control advises the astronauts that results from their backup 9000 computer indicate that HAL has made an error, but HAL blames it on human error. Concerned about HAL's behaviour, Dave and Frank enter an EVA pod so they can talk in private without HAL overhearing. They agree to disconnect HAL if he is proven wrong, but HAL follows their conversation by lip reading. While Frank is outside the ship to replace the antenna unit, HAL takes control of his pod, setting him adrift. Dave launches another pod to rescue Frank. While he is outside, HAL turns off the life support functions of the crewmen in suspended animation, killing them all. When Dave returns to the ship with Frank's body, HAL refuses to let him back in, stating that their plan to deactivate him jeopardises the mission. Dave releases Frank's body and, despite not having a spacesuit helmet, suddenly exits his pod, successfully crosses the vacuum, and opens the ship's emergency airlock manually. He goes to HAL's processor core and begins disconnecting HAL's circuits, despite HAL begging him not to. When the disconnection is complete, a prerecorded video by Heywood plays, revealing that the mission's objective is to investigate the radio signal sent from the monolith to Jupiter. At Jupiter, Dave finds a third, much larger monolith orbiting the planet. He leaves Discovery in an EVA pod to investigate. He is pulled into a vortex of coloured light and observes bizarre cosmological phenomena and strange landscapes of unusual colours as he passes by. Finally he finds himself in a large neoclassical bedroom where he sees, and then becomes, older versions of himself: first standing in the bedroom, middle-aged and still in his spacesuit, then dressed in leisure attire and eating dinner, and finally as an old man lying in bed. A monolith appears at the foot of the bed, and as Dave reaches for it, he is transformed into a foetus enclosed in a transparent orb of light floating in space above the Earth.

MESHES OF THE AFTERNOON (Maya Deren & Alexander Hammid, 1943)

A woman (Maya Deren) sees someone on the street as she is walking back to her home. She goes to her room and falls asleep in a chair. As soon as she is asleep, she experiences a dream in which she repeatedly tries to chase a mysterious hooded figure with a mirror for a face but is unable to catch it. With each failure, she re-enters her house and sees numerous household objects, including a key, a bread knife, a flower, a telephone, and a phonograph. The woman follows the hooded figure to her bedroom, where she sees the figure hide the knife under a pillow. Throughout the story, she sees multiple instances of herself, all bits of her dream that she has already experienced. The woman tries to kill her sleeping body with a knife but is awakened by a man (Alexander Hammid). The man leads her to the bedroom, and she realizes that everything she saw in the dream was actually happening. She notices that the man's posture is similar to that of the hooded figure when it hid the knife under the pillow. She attempts to injure him and fails. Towards the end of the film the man walks into the house and sees a broken mirror being dropped onto wet ground. He then sees the woman in the chair, who was previously sleeping but is now dead. The film's narrative is circular and repeats several motifs, including a flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a mysterious Grim Reaper-like cloaked figure with a mirror for a face, a phone off the hook and an ocean. Through creative editing, distinct camera angles, and slow motion, the surrealist film depicts a world in which it is more and more difficult to grasp reality.

SUNRISE (F.W. Murnau, 1927)

A vacationing Woman from the City (Margaret Livingston) lingers in a lakeside town for weeks. After dark, she goes to a farmhouse where the Man (George O'Brien) and the Wife (Janet Gaynor) live with their child. She whistles from the fence outside. The Man is torn, but finally departs, leaving his wife with the memories of better times when they were deeply in love. The man and woman meet in the moonlight and kiss passionately. She wants him to sell his farm—which has not done well recently—to join her in the city. When she suggests that he solve the problem of his wife by drowning her, he throttles her violently, but even that dissolves in a passionate embrace. The Woman gathers bundles of reeds so that when the boat is overturned, the Man can stay afloat. The Wife suspects nothing when her husband suggests going on an outing, but when they set off across the lake, she soon grows suspicious. He prepares to throw her overboard, but when she pleads for his mercy, he realizes he cannot do it. He rows frantically for shore, and when the boat reaches land, the Wife flees. She boards a trolley, and he follows, begging her not to be afraid of him. The trolley brings them to the city. Her fear and disappointment are overwhelming. He plies her with flowers and bread and finally she stops crying and accepts his gifts. Emerging back on the street, they are touched to see a bride enter a church for her processional, and follow her inside to watch the wedding. The Man breaks down and asks her to forgive him. After a tearful reconciliation, they continue their adventure in the city, having their photograph taken together and visiting a funfair. As darkness falls, they board the trolley for home. Soon they are drifting back across the lake under the moonlight. A sudden storm causes their boat to begin sinking. The Man remembers the two bundles of reeds he placed in the boat earlier and ties the bundles around the Wife. The boat capsizes, and the Man awakes on a rocky shore. He gathers the townspeople to search the lake, but all they find is a broken bundle of reeds floating in the water. Convinced the Wife has drowned, the grief-stricken Man stumbles home. The Woman from the City goes to his house, assuming their plan has succeeded. The Man begins to choke her. Then the Maid calls to him that his wife is alive, so he releases the Woman and runs to the Wife, who survived by clinging to one last bundle of reeds. The Man kneels by the Wife's bed as she slowly opens her eyes. The Man and the Wife kiss, while the Woman from the City's carriage rolls down the hill toward the lake, and the film dissolves to the sunrise.

GERTRUD (Carl Theodor Dreyer, 1964)

Gertrud, a former opera singer in Stockholm in the early 20th century, is married to the lawyer and politician Gustav Kanning. Gertrud tells her husband that he has become more in love with his career and status than with her. She also tells him that she has met another man who loves her more than anything else, and that she therefore prefers him to her husband and wants a divorce. Gertrud meets her lover, the promising young pianist Erland Jansson, in a park. The two go to Jansson's house. Gertrud tells him how devoted she is to him. In the evening Gustav goes to pick Gertrud up at the opera where she had said she would be, but can't find her. The next evening the Kannings attend a dinner party at the house of the poet Gabriel Lidman, with whom Gertrud has had a relationship in the past. Gertrud greets her friend Axel Nygren who attends the same party. Gustav confronts Gertrud about the opera, and demands one last night with her before the separation. Lidman tells Gertrud that he had met Jansson at a party where he had bragged about Gertrud as his latest conquest. When Gertrud meets with Jansson the next day she tells him that she wants to go away with him and leave everything else behind. He tells her that he cannot, because he is expecting a child with another woman. Lidman makes an attempt to persuade Gertrud to leave with him instead, but without success; when Lidman and Gertrud were a couple, just like Kanning, he had valued his career above her. Kanning makes a last attempt to persuade Gertrud to stay with him, even allowing her to keep her lover at the same time. The attempt fails and Gertrud moves alone to Paris to study psychology. Thirty years later, Gertrud, together with Nygren, looks back at her life. She says that love is the only thing that means anything in life. She is now alone because of her refusal to compromise on that position, but does not regret anything.

CITIZEN KANE (Orson Welles, 1941)

In a mansion called Xanadu, part of a vast palatial estate in Florida, the elderly Charles Foster Kane is on his deathbed. Holding a snow globe, he utters his last word, "Rosebud", and dies. A newsreel obituary tells the life story of Kane, an enormously wealthy newspaper publisher and industrial magnate. Kane's death becomes sensational news around the world, and the newsreel's producer tasks reporter Jerry Thompson with discovering the meaning of "Rosebud". Thompson sets out to interview Kane's friends and associates. He tries to approach his second wife, Susan Alexander Kane, now an alcoholic who runs her own nightclub, but she refuses to talk to him. Thompson goes to the private archive of the late banker Walter Parks Thatcher. Through Thatcher's written memoirs, Thompson learns about Kane's rise from a Colorado boarding house and the decline of his personal fortune. In 1871, gold was discovered through a mining deed belonging to Kane's mother, Mary Kane. She hired Thatcher to establish a trust that would provide for Kane's education and to assume guardianship of him. While the parents and Thatcher discussed arrangements inside the boarding house, the young Kane played happily with a sled in the snow outside. When Kane's parents introduced him to Thatcher, the boy struck Thatcher with his sled and attempted to run away. By the time Kane gained control of his trust at the age of 25, the mine's productivity and Thatcher's prudent investing had made Kane one of the richest men in the world. Kane took control of the New York Inquirer newspaper and embarked on a career of yellow journalism, publishing scandalous articles that attacked Thatcher's (and his own) business interests. Kane sold his newspaper empire to Thatcher after the 1929 stock market crash left Kane short of cash. Thompson interviews Kane's personal business manager, Mr. Bernstein. Bernstein recalls that Kane hired the best journalists available to build the Inquirer's circulation. Kane rose to power by successfully manipulating public opinion regarding the Spanish-American War and marrying Emily Norton, the niece of the President of the United States. Thompson interviews Kane's estranged best friend, Jedediah Leland, in a retirement home. Leland says that Kane's marriage to Emily disintegrated over the years, and he began an affair with amateur singer Susan Alexander while running for Governor of New York. Both his wife and his political opponent discovered the affair and the public scandal ended his political career. Kane married Susan and forced her into a humiliating operatic career for which she had neither the talent nor the ambition, even building a large opera house for her. After Leland began to write a negative review of Susan's disastrous opera debut, Kane fired him but finished the negative review and printed it. Susan protested that she never wanted the opera career anyway, but Kane forced her to continue the season. Susan consents to an interview with Thompson and describes the aftermath of her opera career. She attempted suicide and so Kane finally allowed her to abandon singing. After many unhappy years and after being hit by Kane, she finally decided to leave him. Kane's butler Raymond recounts that, after Susan left him, he began violently destroying the contents of her bedroom. When he happened upon a snow globe, he grew calm and said "Rosebud". Thompson concludes that he cannot solve the mystery and that the meaning of Kane's last word will remain a mystery. Back at Xanadu, Kane's belongings are cataloged or discarded by the staff. They find the sled on which the eight-year-old Kane was playing on the day that he was taken from his home in Colorado and throw it into a furnace with other items. Behind their backs, the sled slowly burns and its trade name, printed on the back, becomes visible through the flames: "Rosebud".

BICYCLE THIEVES (Vittorio De Sica, 1948)

In the post-World War II Val Melaina neighborhood of Rome, Antonio Ricci (Lamberto Maggiorani) is desperate for work to support his wife Maria (Lianella Carell), his son Bruno (Enzo Staiola) and his small baby. He is offered a job of pasting advertising bills but tells Maria that he cannot accept because the job requires a bicycle. Maria resolutely strips the bed of her dowry bedsheets‍—‌prized possessions for a poor family‍—‌and takes them to the pawn shop, where they bring enough to redeem Antonio's pawned bicycle. On his first day of work, Antonio is atop a ladder when a young man (Vittorio Antonucci) snatches the bicycle. Antonio gives chase but is thrown off the trail by the thief's confederates. The police warn that there is little they can do. Advised that stolen goods often surface at the Piazza Vittorio market, Antonio goes there with several friends and Bruno. They find a bicycle frame that might be Antonio's, but the sellers refuse to allow them to examine the serial number. They call an officer over who reads the serial number to them (it does not match) but won't allow them to see the number for themselves. At the Porta Portese market, Antonio and Bruno spot the thief with an old man. The thief eludes them and the old man feigns ignorance. They follow him into a church where he too slips away from them. In a subsequent encounter with the thief, Antonio pursues him into a brothel, whose denizens eject them. In the street, hostile neighbors gather as Antonio accuses the thief, who conveniently falls into a fit for which the crowd blames Antonio. Bruno fetches a policeman, who searches the thief's apartment without success. The policeman tells Antonio the case is weak‍—‌Antonio has no witnesses and the neighbors are certain to provide the thief with an alibi. Antonio and Bruno leave in despair amid jeers and threats from the crowd. On their way home, they are walking near Stadio Nazionale PNF football stadium. Antonio sees an unattended bicycle near a doorway and after much anguished soul-searching, instructs Bruno to take the tram to a stop nearby and wait. Antonio circles the unattended bicycle and jumps on it. Instantly the hue and cry is raised and Bruno - who has missed the tram - is stunned to see his father pursued, surrounded and pulled from the bicycle. As Antonio is being muscled toward the police station, the bicycle's owner notices Bruno and in a moment of compassion tells the others to release Antonio. Antonio and Bruno then walk off slowly amid a buffeting crowd. Antonio fights back tears and Bruno takes his hand. The camera watches from behind as they disappear into the crowd.

IN THE MOOD FOR LOVE (Wong Kar-wai, 2000)

Opening intertitle[edit] The following intertitle begins the film: (Translation) It is a restless moment. She has kept her head lowered... to give him a chance to come closer. But he could not, for lack of courage. She turns and walks away. — Opening intertitle Summary[edit] In 1962 British Hong Kong, Shanghai expatriates Chow Mo-wan, a journalist, and Su Li-zhen (Mrs. Chan), a secretary at a shipping company, rent rooms in adjacent apartments. Each has a spouse who works and often leaves them alone on overtime shifts. Due to the friendly but overbearing presence of a Shanghainese landlady, Mrs. Suen, and their bustling, mahjong-playing neighbours, Chow and Su are often alone in their rooms. Although they initially are friendly to each other only as need be, they grow closer as they realize that their spouses are having an affair. Chow invites Su to help him write a martial arts serial. Their increased time together draws the attention of their neighbors, leading Chow to rent a hotel room where they can work together undistracted. As time passes, they acknowledge that they have developed feelings for each other. When Chow takes a job in Singapore, he asks Su to go with him. She agrees but arrives too late at the hotel to accompany him. The next year, in Singapore, Chow relays a story to his friend about how in older times, when a person had a secret, they could go atop a mountain, make a hollow in a tree, and whisper it into the hollow and cover it with mud. Su arrives at Singapore and visits Chow's apartment. She calls Chow but remains silent when Chow picks up the phone. Later, Chow realizes she had visited his apartment after seeing a lipstick-stained cigarette butt in his ashtray. Three years later, Su visits Mrs. Suen, who is about to emigrate to the United States, and inquires about whether her apartment is available for rent. Sometime later, Chow returns to Hong Kong to visit his former landlords the Koos, who have emigrated to the Philippines. He asks about the Suen family next door, and the new owner tells him a woman and her son are now living there. He leaves unable to acknowledge Su's new life. During the Vietnam War, Chow travels to Siem Reap, Cambodia, around the time of Charles de Gaulle's visit to the country (shown on film), and visits Angkor Wat. As a monk watches him, he whispers something unheard into a hollow in a wall there and plugs the hollow with mud. The scene fades out with views of the desolate temple complex. Closing intertitle[edit] After Chow leaves Angkor Wat, the following intertitle appears and concludes the film: (Translation) He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct. (A more literal translation) Those vanished years, as if separated by a piece of dust-laden glass, can only be seen and not grasped. He keeps yearning for everything in the past. Had he shattered through that dust-laden glass, he would have walked back into those long-vanished years. — Closing intertitle

THE MAN WITH A MOVIE CAMERA (Dziga Vertov, 1929)

The film is divided into six separate parts, one for each film reel on which it would have originally been printed. Each part begins with a number appearing on screen and falling down flat. The film makes use of many editing techniques, such as superimposition, slow motion, fast motion, rapid cross-cutting, and montage. The film has an unabashedly avant-garde style, and the subject matter varies greatly. The titular man with the movie camera (Mikhail Kaufman, Vertov's brother) travels to diverse locations to capture a variety of shots. He appears in artistic images such as a superimposed shot of the cameraman setting up his camera atop a second, mountainous camera, and another superimposed shot of the cameraman inside a beer glass. General images include laborers at work, sporting events, couples getting married and divorced, a woman giving birth, and a funeral procession. Much of the film is concerned with people of varying economic classes navigating urban environments. On occasion, the film's editor (Svilova) is shown working with strips of film and various pieces of editing equipment. Despite claiming to be without actors, the film features a few staged situations. This includes some of the cameraman's actions, the scene of a woman getting dressed, and chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). Stop-motion is used for several shots, including an unmanned camera on a tripod standing up, showing off its mechanical parts, and then walking off screen.

PERSONA (Ingmar Bergman, 1966)

A projector begins screening a series of images, including a crucifixion, a spider and the killing of a lamb, and a boy wakes up in a hospital or morgue. He sees a large screen with a blurry image of two women. One of the women may be Alma, a young nurse assigned by a doctor to care for Elisabet Vogler. Elisabet is a stage actress who has suddenly stopped speaking and moving, which the doctors have determined is the result of willpower rather than physical or mental illness. In the hospital, Elisabet is distressed by television images of a man's self-immolation during the Vietnam War. Alma reads her a letter from Elisabet's husband that contains a photo of their son, and the actress tears the photograph up. The doctor speculates that Elisabet may recover better in a cottage by the sea, and sends her there with Alma. At the cottage, Alma tells Elisabet that no one has ever really listened to her before. She talks about her fiancé, Karl-Henrik, and her first affair. Alma tells a story of how, while she was already in a relationship with Karl-Henrik, she sunbathed in the nude with Katarina, a woman she had just met. Two young boys appeared, and Katarina initiated an orgy. Alma became pregnant, had an abortion and continues to feel guilty. Stroop Report photograph, found by Elisabet, of Polish Jews captured after the Warsaw Ghetto uprising Alma drives to town to mail their letters, and notices that Elisabet's is not sealed. She reads it. The letter says that Elisabet is "studying" Alma and mentions the nurse's orgy and abortion. Furious, Alma accuses Elisabet of using her for some purpose. In the resulting fight, she threatens to scald Elisabet with boiling water and stops when Elisabet begs her not to. This is the first time Alma is certain the actress has spoken since they met, though she thought Elisabet previously whispered to her when Alma was half-asleep. Alma tells her that she knows Elisabet is a terrible person; when Elisabet runs off, Alma chases her and begs for forgiveness. Later, Elisabet looks at the famous photograph of Jews arrested in the Warsaw Ghetto from the Stroop Report. One night, Alma hears a man outside calling for Elisabet; it is Elisabet's husband. He calls Alma "Elisabet" and, though the nurse tells him he is mistaken, they have sex. Alma meets with Elisabet to talk about why Elisabet tore up the photo of her son. Alma tells much of Elisabet's story: that she wanted the only thing she did not have, motherhood, and became pregnant. Regretting her decision, Elisabet attempted a failed self-induced abortion and gave birth to a boy whom she despises, but her son craves her love. Alma ends the story in distress, asserting her identity and denying that she is Elisabet. She later coaxes Elisabet to say the word "nothing", and leaves the cottage as a crew films her.

BEAU TRAVAIL (Claire Denis, 1999)

Adjudant-Chef Galoup of the French Foreign Legion reflects on his life from his home Marseille. He recalls his time in Djibouti, where he led a section of men under the command of Commandant Bruno Forestier. Galoup admired and envied many of Forestier's qualities, including his clear affection from the men, and retains a wristband with Forestier's name. Galoup has a Djiboutian girlfriend, and they often go out dancing. One day, a new recruit named Gilles Sentain joins Galoup's section. Galoup harbors an immediate and seemingly irrational hostility towards Sentain, and vows to destroy him. When Sentain hands a canteen of water to another soldier who is being punished by being forced to dig a large hole in the heat of the day, Galoup chastises Sentain and knocks the water from his hand. Sentain strikes Galoup, who retaliates by taking Sentain into the desert and ordering him to walk back to the base alone. However, Galoup had previously tampered with Sentain's compass, causing him to become lost and collapse from dehydration in the arid salt flats. Sentain is ultimately found and rescued by locals, but never returns to the base and is presumed to have deserted. His compass is later found by the legionnaires at a local sale of salt-encrusted novelties, and is believed to prove Sentain is dead. On the assumption that Galoup has either killed or attempted to kill Sentain, Galoup is sent back to France by Forestier for a court martial, ending his career in the Foreign Legion. He makes his bed in the immaculate military manner, then lies on top clutching a pistol, and reads aloud the phrase tattooed on his chest: "Sert la bonne cause et meurt" ("Serve the good cause then die"). The film ends with Galoup at a night club in Djibouti, engaging in a lively acrobatic solo dance to "The Rhythm of the Night".

THE PASSION OF JOAN OF ARC (Carl Theodor Dreyer, 1928)

After having led the French in numerous battles against the English during the Hundred Years' War, Joan of Arc is captured near Compiegne and eventually brought to Rouen to stand trial for heresy by French clergymen loyal to the English. On 30 May 1431, Joan is interrogated by the French clerical court. Her judges, who are on the side of the Burgundian-English coalition and against the King of France, try to make her say something that will discredit her claim or shake her belief that she has been given a mission by God to drive the English from France, but she remains steadfast. One or two of them, believing that she is indeed a saint, support her. The authorities then resort to deception. A priest reads a false letter in the prison to the illiterate Joan, supposedly from King Charles VII of France, telling her to trust in the bearer. When that too fails, Joan is taken to view the torture chamber, but the sight, though it causes her to faint, does not intimidate her. When she is threatened with burning at the stake, Joan finally breaks and allows a priest to guide her hand in signing a confession. However, the judge then condemns her to life imprisonment. After the jailer shaves her head, she realises that she has been unfaithful to God. She demands that the judges return and she recants her confession. As more and more around her begin to recognise her true faith and calling, she is permitted a final communion mass. She is then dressed in sackcloth and taken to the place of execution. She helps the executioner tie her bonds. The crowds gather and the fire is lit. As the flames rise, the women weep and a man cries out, "vous avez brûlé une sainte" ("you have burned a saint"). The troops prepare for a riot. As the flames consume Joan, the troops and crowd clash and people are killed. A subtitle states that the flames protect her soul as it rises to Heaven.[4]

PIERROT LE FOU (Jean-Luc Godard, 1965)

Ferdinand Griffon is unhappily married and has been recently fired from his job at a TV broadcasting company. After attending a mindless party full of shallow discussions in Paris, he feels a need to escape and decides to run away with ex-girlfriend Marianne Renoir, leaving his wife and children and bourgeois lifestyle. Following Marianne into her apartment and finding a corpse, Ferdinand soon discovers that Marianne is being chased by OAS gangsters, two of whom they barely escape. Marianne and Ferdinand, whom she calls Pierrot - an unwelcome nickname meaning "sad clown" - go on a crime spree from Paris to the Mediterranean Sea in the dead man's car. They lead an unorthodox life, always on the run, pursued by the police and by the OAS gangsters. When they settle down in the French Riviera after burning the dead man's car (which had been full of money, unbeknownst to Marianne) and sinking a second car into the Mediterranean Sea, their relationship becomes strained. Ferdinand reads books, philosophizes, and writes a diary. They spend a few days on a desert island. A dwarf, who is one of the gangsters, kidnaps Marianne. She kills him with a pair of scissors. Ferdinand finds him murdered and is caught and bludgeoned by two of his accomplices, who waterboard him to make him reveal Marianne's whereabouts. Marianne escapes, and she and Ferdinand are separated. He settles in Toulon while she searches for him everywhere until she finds him. After their eventual reunion, Marianne uses Ferdinand to get a suitcase full of money before running away with her real boyfriend, Fred, to whom she had previously referred as her brother. Ferdinand shoots Marianne and Fred, then paints his face blue and decides to blow himself up by tying sticks of red and yellow dynamite to his head. He regrets this at the last second and tries to extinguish the fuse, but he fails and is blown up.

8½ (Federico Fellini, 1963)

Guido Anselmi, a famous Italian film director, is suffering from "director's block". Stalled on his new science fiction film that includes thinly veiled autobiographical references, he has lost interest amidst artistic and marital difficulties. While attempting to recover from his anxieties at a luxurious spa, Guido hires a well-known critic to review his ideas for his film, but the critic blasts them. Guido has recurring visions of an Ideal Woman, which he sees as key to his story. His mistress Carla comes to visit him, but Guido puts her in a separate hotel. The film production crew relocates to Guido's hotel in an unsuccessful attempt to get him to work on the film. Guido admits to a Cardinal that he is not happy. The Cardinal offers little insight. Guido invites his estranged wife Luisa and her friends to join him. They dance, but Guido abandons her for his production crew. Guido confesses to his wife's best friend Rosella that he wanted to make a film that was pure and honest, but he is struggling with something honest to say. Carla surprises Guido, Luisa, and Rosella outside the hotel, and Guido claims that he and Carla ended their affair years earlier. Luisa and Rosella call him on the lie, and Guido slips into a fantasy world where he lords over a harem of women from his life, but a rejected showgirl starts a rebellion. The fantasy women attack Guido with harsh truths about himself and his sex life. When Luisa sees how bitterly Guido represents her in the film, she declares that their marriage is over. Guido's Ideal Woman arrives in the form of an actress named Claudia. Guido explains that his film is about a burned-out man who finds salvation in this Ideal Woman. Claudia concludes that the protagonist is unsympathetic because he is incapable of love. Broken, Guido calls off the film, but the producer and the film's staff announce a press conference. Guido attempts to escape from the journalists and eventually imagines shooting himself in the head. Guido realizes he was attempting to solve his personal confusion by creating a film to help others, when instead he needs to accept his life for what it is. He asks Luisa for her assistance in doing so. Carla tells him that she figured out what he was trying to say: that Guido cannot do without the people in his life. The men and women hold hands and run around the circle, Guido and Luisa joining them last.

CLOSE-UP (Abbas Kiarostami, 1990)

Hossain Sabzian is a cinephile, and in particular a big fan of popular Iranian director Mohsen Makhmalbaf. One day, Sabzian is riding a bus with a copy of a published screenplay of The Cyclist; Mrs. Ahankhah sits next to him, revealing she is a fan of the film. Sabzian tells her that he himself is Makhmalbaf, the creator and learns that her sons are interested in film. Posing as Makhmalbaf, Sabzian visits the Ahankhah family several times over the next two weeks. He flatters them by saying he wants to use their house in his next film and their sons as actors. He also borrows 1,900 tomans from one of the sons for cab fare. Mr. Ahankhah starts to suspect him as an imposter trying to rob them, especially when a magazine photograph shows a younger Makhmalbaf with darker hair. He invites a journalist, Hossain Farazmand, who confirms that Sabzian is indeed an impostor. The police come to arrest Sabzian, while Farazmand takes several pictures for his upcoming article titled "Bogus Makhmalbaf Arrested".[3] Kiarostami visits Sabzian in prison and helps to move his trial up, and receives permission from the judge to record the trial. At the trial, Sabzian is tried for fraud and attempted fraud. He reveals his motivations for the imitation as love for Makhmalbaf's film and cinema, while the Ahankhah's son recounts his visits as they started to suspect him. Due to his circumstances as a young father with no prior record and his remorse, the judge asks the family if they would be willing to pardon Sabzian. They agree in exchange for him becoming a productive member of society. After the trial, the real Makhmalbaf meets Sabzian and gives him a ride back to the Ahankhah's house, with Kiarostami's crew following. When they meet Mr. Ahankhah, he says of Sabzian: "I hope he'll be good now and make us proud of him."

CONTEMPT (Jean-Luc Godard, 1963)

Paul Javal, a young French playwright who has found commercial success in Rome, accepts an offer from vulgar American producer Jeremy Prokosch to rework the script for German director Fritz Lang's screen adaptation of the Odyssey. Paul's wife, Camille Javal, joins him on the first day of the project at Cinecittà. As the first discussions are completed, Prokosch invites the crew to join him at his villa, offering Camille a ride in his two-seat sportscar. Camille looks to Paul to decline the offer, but he submissively withdraws to follow by taxi, leaving Camille and Prokosch alone. Paul does not catch up with them until 30 minutes later, explaining that he was delayed by a traffic accident. Camille grows uneasy, secretly doubting his honesty and suspecting that he is using her to cement his ties with Prokosch. Her misgivings are heightened when she sees Paul grope Prokosch's secretary, Francesca. Back at their apartment, Paul and Camille discuss the subtle uneasiness that has come between them in the first few hours of the project, and Camille suddenly announces to her bewildered husband that she no longer loves him. Hoping to rekindle Camille's love, Paul convinces her to accept Prokosch's invitation to join them for filming in Capri. Prokosch and Lang are locked in a conflict over the correct interpretation of Homer's work, an impasse exacerbated by the difficulty of communication between the German director, French script writer, and American producer. Francesca acts as interpreter, mediating all conversations. When Paul sides with Prokosch against Lang by suggesting that Odysseus actually left home because of his wife's infidelity, Camille's suspicions of her husband's servility are confirmed. She deliberately allows him to find her in Prokosch's embrace, and in the ensuing confrontation she implies that her respect for him has turned to contempt because he has bartered her to Prokosch. He denies this suggestion, offering to sever his connection with the film and leave Capri; but she will not recant and leaves for Rome with the producer. After a car crash in which Camille and Prokosch are killed, Paul prepares to leave Capri and return to the theater. Lang continues to work on the film.

PLAYTIME (Jacques Tati, 1967)

Playtime is set in a futuristic, hyperconsumerist Paris. The story is structured in six sequences, linked by two characters who repeatedly encounter one another over the course of a day: Barbara, a young American tourist visiting Paris with an American tourist group, and Monsieur Hulot, a befuddled Frenchman lost in the new modernity of Paris. The sequences are as follows: The Airport: The American tour group arrives at the ultra-modern and impersonal Orly Airport. The Offices: M. Hulot arrives at one of the glass and steel buildings for an important meeting but gets lost in a maze of disguised rooms and offices, eventually stumbling into a trade exhibition of lookalike business office designs and furniture nearly identical to those in the rest of the building. Jacques Tati's M. Hulot in "Tativille" The Trade Exhibition: M. Hulot and the American tourists are introduced to the latest modern gadgets, including a door that slams "in golden silence" and a broom with headlights, while the Paris of legend goes all but unnoticed save for a flower seller's stall and a single reflection of the Eiffel Tower in a glass door. The Apartments: As night falls, M. Hulot meets with an old friend who invites him to his sparsely furnished, ultra-modern and glass-fronted flat. This sequence is filmed entirely from the street, observing M. Hulot and other building residents through uncurtained floor-to-ceiling picture windows. The Royal Garden: This sequence takes up almost the entire second half of the film. At the restaurant, M. Hulot reunites with several characters he has periodically encountered during the day, along with a few new ones, including a nostalgic ballad singer and a boisterous American businessman. The Carousel of Cars: M. Hulot buys Barbara two small gifts as mementos of Paris before her departure. In the midst of a complex ballet of cars in a traffic circle, the tourists' bus returns to the airport.

ORDET (Carl Theodor Dreyer, 1955)

The film centers around the Borgen family in rural Denmark during the autumn of 1925. The devout widower Morten, patriarch of the family, prominent member of the community, and patron of the local parish church, has three sons. Mikkel, the eldest, who has no faith, is happily married to the pious Inger, who is pregnant with their third child. Johannes, who was inspired by the Holy Spirit studying Søren Kierkegaard, believes himself to be Jesus Christ and wanders the farm. He condemns the age's lack of faith, including that of his family and of the modern-minded new pastor of the village. The youngest son, Anders, is lovesick for the daughter of the leader of a local Inner Mission sect. Anders confesses to Mikkel and Inger that he loves Anne Petersen, the daughter of Peter the Tailor. They agree to convince Morten to assent to the match. Later, Inger attempts to convince Morten to allow Anders to marry Anne. Morten angrily refuses, but changes his mind when he finds out Peter has refused Anders' proposal. Morten and Anders go to meet Peter, in order to negotiate the betrothal. After a mental breakdown, Johannes (Preben Lerdorff Rye) believes that he is Jesus Christ. Morten tries to convince Peter to permit the marriage, but he continues to refuse unless Morten and Anders join the orthodox church. As the discussion collapses into sectarian bickering, Morten receives a call announcing that Inger has gone into a difficult labor. Peter says he hopes Inger will die, as maybe then Morten will see the error of his ways and join Peter's church. Furious at Peter's comments, Morten attacks Peter and storms out with Anders, the two of them rushing home. While the doctor cannot save the baby, he is able to save Inger's life. After the doctor and pastor leave, Johannes angers his father by telling him that death is nearby and will take Inger, unless Morten has faith in him. Morten refuses to listen and, as prophesied, Inger dies suddenly. While preparing to go to Inger's funeral, Peter realizes that he has wronged Morten terribly, and reconciles with him over Inger's open coffin, agreeing to permit Anne and Anders to marry. Johannes suddenly interrupts the wake, approaches Inger's coffin, and proclaims that she can be raised from the dead if the family will only have faith and ask God to do so. Inger's daughter takes Johannes (again, inspired by the Holy Spirit)' hand and impatiently asks him to raise her mother from the dead. Johannes praises her childlike faith and asks God to raise Inger, who begins to breathe and twitch in her coffin. Seeing what seems to be the miracle of resurrection, both Morten and Peter rejoice, forgetting their religious differences. As Inger sits up, Mikkel embraces her and proclaims that he has finally found faith.[3]

MIRROR (Andrei Tarkovsky, 1975)

The film opens with Aleksei's adolescent son Ignat switching on a television and watching the examination of a man with a stutter by a physician who finally manages to make her patient say without disruption: "I can talk". After the opening titles, a scene is set in the countryside during prewar times in which Aleksei's mother Maria, also called Masha and Marusya, speaks with a doctor who chances to be passing by. The exterior and interior of Aleksei's grandfather's country house are seen. The young Aleksei, his mother, and sister watch as the family barn burns down. In a dream sequence, Maria is washing her hair. In the postwar time frame, Aleksei is heard talking with his mother on the phone while rooms of an apartment are seen. Switching back to the prewar time frame, Maria is seen rushing frantically to her workplace as a proofreader at a printing press. She is worried about a mistake she may have overlooked, but is comforted by her colleague Liza (Alla Demidova), who then seemingly reduces her to tears with withering criticism. Back in the postwar period, Aleksei quarrels with his ex-wife, Natalia, who has divorced him and is living with their son Ignat. This is followed by newsreel scenes from the Spanish Civil War and of a balloon ascent in the U.S.S.R. In the next scene, in Aleksei's apartment, Ignat meets with a strange woman sitting at a table. At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Aleksei. Ignat answers a knock at the door, which turns out to be a woman who says she has the wrong apartment. When Ignat returns to the woman at the table, she has vanished, though the condensation from her teacup momentarily remains. Switching to wartime, the adolescent Aleksei is seen undergoing rifle training with a dour instructor, intercut with newsreel footage of World War II and the Sino-Soviet border conflict. Before the war, Maria visits her neighbor with Aleksei to seek toiletries. The woman introduces Maria to her son and requests she slaughter a cockerel, which she does. Aleksei and his sister reunite with their father at the war's end. The film then returns to the quarrel between Aleksei and his wife in the postwar sequence. Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria. The film then moves to the postwar time, showing Aleksei apparently on his deathbed with a mysterious malady and holding a small bird. The final scene is in the prewar time frame, showing a pregnant Maria intercut with scenes showing Maria young and old. (Old Maria is played by Tarkovsky's mother, Maria Vishnyakova.)