L'abécédaire de Gilles Deleuze

In Daniel Burman's Family Law, Perelman Jr., like his father before him, is an attorney. But rather than live in his father's shadow, Perelman Jr. chooses to work as a teacher in a law school. His life is good, if somewhat dull. Things change for the better when he pursues a beautiful former student, a pilates instructor named Sandra, and they have a son together. When his office is unexpectedly closed for several weeks, he doesn't tell Sandra, instead making visits to his son at school and his father at work. As his father begins to reach out to him with subtle urgency, he's forced to question his roles as father, son, and husband, and to contemplate what lies ahead.

Perelman es un joven abogado que todavía no sabe muy bien quién va a ser cuando sea grande. En la búsqueda por definir su identidad, acepta, aunque con cierta aprensión, lo ya heredado, lo inmodificable, lo que él ya es. Pero lo que le cuesta hacer, y mucho, es la otra parte: continuar construyendo su identidad precisamente a partir de lo que se puede cambiar, de aquello que pueda diferenciarlo de su padre, de lo que hay por descubrir.

Portuguese director Manoel de Oliveira celebrates his 100th birthday this month. This centenarian, who has been making movies since 1931 and is little known in this country, is still one of the most vital and unorthodox artists working in the world today. In 1993, at the age of 85, de Oliveira directed what a number of European critics describe as his chef-d'oeuvre: "Valley of Abraham" ("Vale Abraao"), a contemporary variation on Gustave Flaubert's "Madame Bovary," inspired by Agustina Bessa-Luis's Portuguese novel also titled "Valley of Abraham."

Sous la menace d'un terrible dragon, un Roi décide de sacrifier de jeunes vierges aux monstres pour protéger son royaume. Un magicien et son disciple se portent volontaires pour tuer la bête et sauver sa prochaine victime, la propre fille du roi…

Spanish film pioneer Segundo de Chomón spent most of his influential career associated with Pathé Laboratories. Chomón joined the company in 1901 and set up a laboratory for adding color to film in Barcelona. He started directing newsreels the following year. Chomón's innovations include the development of several camera tricks, including single-frame techniques, optical dissolves, and complicated traveling shots. In 1902, Chomón successfully combined live-action with miniatures in the short Choque de Trenes/Collision of Trains. In 1905, he was the first Spanish filmmaker to use stop-motion techniques in Eclipse de Sol/Eclipse of the Sun. Toward the end of 1905, Chomón relocated to Paris to direct over 100 short films for Pathé; he also shared his techniques with other directors. He first used the traveling shot (the first time it was ever used) in a scene for La Vie et la Passion de Notre Seigneur Jesus Christ/The Life and Passion of Jesus Christ (1907), which was directed by Ferdinand Zecca and Lucien Nonguet. Chomón accomplished the shot by devising a special skating device, and perfected the special shot while filming Cabiria for Italian director Giovanni Pastrone in 1914. In 1909, Chomón was among the first to use silhouettes in one of the first animated films, the surreal Une Excursion Incoherente/Traveler's Nightmare. Chomón returned to Barcelona in 1910 and worked closely with Juan Fuster to create a series of short fiction films. In 1911, he produced a series of travel documentaries for Pathé and later in the year founded Ibérico, his own production company (he released his films through Pathé). Chomón moved to Italy in 1912 and worked as a cinematographer and special effects technician with the Italia Film company, for whom Chomón also directed several animated shorts. Chomón co-invented a two-tone color process in the 1920s with Swiss engineer Ernest Zollinger. The pair later exhibited two color films at various science expos. Chomón died of illness in Paris in 1929 shortly after returning from Morocco where he was shooting color footage.

La Alemania nazi invita a un grupo de cineastas españoles cercanos al nuevo régimen a rodar la doble versión, alemana y española, del drama musical de ambiente andaluz La niña de tus ojos, en los estudios de la UFA en Berlín. Felices por dejar atrás la guerra en su país, la reducida troupe de españoles capitaneada por el director Blas Fontiveros inicia su rodaje en el Berlín hitleriano. Pronto descubren que han escapado de una guerra para caer en otra, que la hospitalidad del ministro alemán de Propaganda Joseph Goebbels tiene mucho que ver con los encantos juveniles de la actriz Macarena Granada, y que los únicos extras con aspecto andaluz que se pueden encontrar en Alemania son judíos y gitanos de un campo de concentración.

Surreal look at a family's attempts to shock, bully, frighten, coach, and cajole Antonio Cano into regaining his memory and his management powers after an auto accident. He's middle-aged, wealthy, the leader of a family corporation. After the accident he can't remember his Swiss bank account numbers, can't sign documents, and can't lead his board of directors. His father needs Antonio's recovery to keep family control of the corporation, and Antonio's wife, children, and mistress want access to Antonio's money. They stage elaborate recreations of traumas in his childhood that mix with his own memories and hallucinations. Will they succeed? Will he come out of it?

Antonio Cano es un constructor de mediana edad de gran éxito. Un accidente de tráfico en compañía de su amante le ata a una silla de ruedas, además de provocarle amnesia. Sólo él conoce las claves del negocio, la combinación de la caja fuerte y el número de la cuenta corriente que posee en Suiza. Así que su familia intenta que recuerde representando escenas de su vida. Esto, junto a los recuerdos dispersos que guarda el propio Antonio, arrastra a la familia y hace flotar los fantasmas que llevan dentro.

B-side is a collective biography, a detective movie, and a musical, interweaving different stories that appear, disappear, and resurface continually to contaminate each other and construct a bigger full-blown narrative: the B-side of Barcelona's music.
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En B-side confluyen dos mundos destinados a entenderse: la ciudad y la música. Barcelona: un espacio habitado que empieza a escuchar el sonido de una comunidad invisible. Los músicos: aquellos de quienes no se habla. Música contemporánea, vanguardia, experimentalistas, jazz… sonidos en la sombra que resuenan en la ciudad del baile.

Tongue-in-cheek look at the French Riviera, especially in summer when it overflows with tourists.
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Un viaje por la Costa d'Azur, con su cielo azul, sus playas de arena fina, sus bañistas bronceándose al sol…
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«Et l’Eden où est-il ? Toute la côte en a la nostalgie. Toute la côte écrit son nom».

A pregnant filmmaker takes us to rue Mouffetard, "la Mouffe," in the Latin Quarter of Paris for a mix of documentary footage and imagined scenes. Vignettes or chapters unfold - on the feeling of nature, on pregnancy, on anxiety, on desire, and so forth.
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Detrás del Panthéon, en París, entre las iglesias de St-Etienne-du-Mont y St-Médard, la calle Mouffetard atraviesa un barrio al que da nombre: la Mouffe. L'Opéra-Mouffe es el cuaderno de notas de una mujer embarazada en ese barrio de la calle Mouffetard.
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Derrière le Panthéon, à Paris, entre les églises St-Etienne-du-Mont et St-Médard, la rue Mouffetard traverse un quartier auquel elle a prêté son nom = la Mouffe… L'Opéra-Mouffe est le carnet de notes d'une femme enceinte dans ce quartier de la rue Mouffetard.