The Man Who Loved Flowers

Tři

1965

Breakthrough

2013

Toby is keen to impress his mentor and admits disturbed new patient Judith on the professor's behalf. Lowry conducts the initial interview unaware that Judith's arrival is no accident but part of a carefully orchestrated plan to bring the two of them together.

Silent Partner

2021

After winning a controversial case, a Black attorney at a white-shoe law firm questions the legitimacy of his recent promotion.

Living all of Life

2022

After a lifetime together, Susana has been abandoned by her husband. She is in denial and holds on to the past. One day, she needs the help of her neighbor, Gloria, a free-spirited woman that she can’t stand. But the friendship that emerges between them awakens Susana's desire to live in the present.

Night Market

2012

Do-han makes money ripping off Chinese tourists visiting Dongdaemun night market. One evening, a Korean-Chinese man, Gwang-ho, asks the wandering Do-han about where he might take a woman. Hand-held camera work, close-ups and rhythmical editing enhance the dramatic tension and reveals what lays the shadowy corners of the exciting city nightscape.

Soft-Boiled Boots

1978

The film is based on the stories Anton Chekhov. It is a tribute to the actor Boris Andreyev. He plays a major role that keeps up for the duration of the film. Lively and intelligent Valery Spout largely mitigates underline the drama of the protagonist, while Michael Sveta's role, though small, is bright and memorable.

Ilda

1984

Artemide’s Knee

2008

Mourning the death of his partner and collaborator Danièle Huillet, Straub finds tender mercy in music and nature. Out of the abyss, Kathleen Ferrier sings “The Farewell” from Gustav Mahler’s “The Song of the Earth”, (which the composer wrote in 1909 after the death of his daughter) and Heinrich Schütz’s Lament on the Death of His Wife. The landscape also provides solace: the mountain grove where Endymion pines for his beloved Artemis, “a wild thing, untouchable, mortal,” appears to embody the Japanese concept of ‘mono no aware’ — a wistful acceptance of the fleeting beauty of things.