Related Movies
ROJA (2010)
Levin lives in his memories and can't shake his first love. Caught in a spiral of constant changing memories he figures out what he really did. Meanwhile his boss forces him to join an elite group of brokers, who meet to fight each other on weekends. Those meetings are a counter balance to their stressful jobs. Levin decides that his big ego doesn't deserve to live. But instead of going through with this decision, he escapes again, risking the life of his boss during one of the fight weekends.
The Fool on the Pill (2024)
In a village, an unlucky fool has a bad morning when he’s forced to walk to town for his job interview. Along the way he meets a man who claims he is a wizard and can tell The Fool is unlucky, he offers him a lucky pill that will change his life temporarily. The Fool doesn't actually believe the pill will work but when he takes it and gets the job against all odds, The Fool is hooked.
Tetsuo II: Body Hammer (1992)
A Japanese salaryman finds his body transforming into a weapon through sheer rage after his son is kidnapped by a gang of violent thugs.
Equilíbrio e Graça (2002)
A short film about the meeting of a Trappist monk and a Zen Buddhist master.
Me, Myself, and My Third Eye: 4 Enlightened Stories For 1 Imperfect God (2010)
Features four distinct, bizarre, existential tales about people whose lives are in transition, who are each asking questions about themselves, their environments, and about God(s).
Toxic Man (2020)
Ravaged by a debilitating illness, the Toxic Man sets out to stop the cabal of scientists and bureaucrats responsible for his metamorphosis in a surreal stab at vengeance.
Anna the Maid (1958)
An experimental movie based on a poem of the French writer and director Jean Cocteau about a servant who fantasises about killing the lady of the house.
Dream (2008)
In the aftermath of a car crash, a man discovers his dreams are tied to a stranger's sleepwalking.
The Illiac Passion (1967)
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound , finds the personalities of his characters to have a timeless universality.
Knockdown (2016)
A woman's waiting for a man who will never return, another one boxing proudly the vacuum, a singer without orchestra, a conductor lonely. Lonely characters united by a fable, a naked young man lost in the woods, chasing or fleeing something.
Serious as Pleasure (1975)
"In Serieux comme le plaisir, two men and a woman live quite happily together in a romantic liaison. The woman is probably wealthy anyway, so the trio doesn't worry much about money. One day they decide to take a trip in their beat-up car, managing the whole affair in their own special, insouciant manner. They are followed by a suspicious policeman who thinks there's something fishy about this group..."
Serenity (1961)
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
Karkalou (1984)
In this avant-garde look at a series of unique or eccentric men and women, director Stavros Tornes has created a film that is visually engaging, but too obscure in many points to be understood. The main protagonists are a young taxi driver -- a man who has had some very unusual, puzzling, and inspirational experiences -- and a middle-aged painter he gains as a new friend. The two men are complemented by a few tough women (all played by the same actress), a pair of verbose politicos, and a handful of other distinctive characters. By the end of the movie, transformations are in store for the pair of friends, reflecting the tenor of the film throughout. ~ Eleanor Mannikka, Rovi
Fatal Fix (1980)
A microcosm of people lost in search of an artificial happiness, which leads them to steal and prostitute themselves for the short ecstasy of a squirt of heroin in the veins. Marco and Pina live in this world of drugs, prostitution and violence, and they must fight for their survival. One day one of their friend dies during a holdup. Marco and Pina are helpless and will do anything to escape, but fate does not want a similar world. Between bites of heroin and sidewalk they are in a deadly trance.
Colossal (2012)
Colossal explores the complexities of grief and the process of grieving as understood through the myth of a Man as he ventures through shifting landscapes ruminating.
Todo Todo Teros (2006)
Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.
Refrains Happen Like Revolutions in a Song (2010)
Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”
