Two-part series which traces the way care of disowned and disabled children changed in the decades after World War II.
Roman Polanski adapts David Ives Tony Award-winning Broadway play about a frustrated theater director whose growing obsession with a volatile actress signals the start of an unexpected power shift. Exhausted after a day of unsuccessful auditions for the female lead in his play exploring the volatile relationship between a domineering mistress and her willing male subject, writer/director Thomas (Mathieu Amalric) broods over his lack of success when tempestuous actress Vanda (Emmanuelle Seigner) blows into the theater like a sweltering summer storm. Though at first reluctant to give the overly-assertive and questionably-talented actress an audition, Thomas eventually relents. Subsequently captivated by her intense erotic energy, he gradually begins to realize she was more prepared than initial appearances suggested, and that she's perfect for the role. Yet in his spellbound state, Michael fails to notice that Vanda - who even shares the same name as her fictional counterpart - has slyly managed to turn the tables on him and before long their relationship begins to strike an eerie parallel with those of his impassioned characters.
In the early 60s, two boys - Ignacio and Enrique - discover love, movies and fear in a Christian school. Father Manolo, the school principal and Literature teacher, both witnesses and takes part in these discoveries. The three characters come against one another twice again, in the late 70s and in 1980. These meetings are set to change the life and death of some of them.
1968 film by Japanese artist Yayoi Kusama and the late experimental filmmaker Jud Yalkut. Kusama produces and stars in the film, which has a psychedelic feel and non-narrative structure. It starts with Kusama in rural upstate New York, covering animals, plants and a naked male body with polka dots. She uses this action throughout her career as a metaphor for giving up identity, abolishing uniqueness and becoming one with the universe - or 'self-obliteration'. The film goes on to show body-painting in the artist's installation environments or 'happenings'. These 'happenings' embraced the new hippie culture that had been on the rise in the US since the mid-60s, as well as sexual liberation, opposition to the Vietnam War and a yearning for change following civil rights injustices. They also saw a shift in art with a move away from the restraints of the gallery space and its conventions of traditional painting and sculpture.
Throughout most of the nineteenth century, it was believed that the tens of thousands of earthen mounds that dotted the central United States were engineering feats created by a mysterious, lost race - a race that had been destroyed by the less civilized Indians. Poet William Cullen Bryant, in 1832, expressed the sentiment of the period: