The Burdened

The backup singer exists in a strange place in the pop music world; they are always in the shadow of the feature artists even when they are in front of them in concert while they provide a vital foundation for the music. Through interviews with veterans and concert footage, the history of these predominately African-American singers is explored through the rock era. Furthermore, special focus is given to special stand outs who endeavored to make a living in the art burdened with a low profile and more personal career frustrations, especially those who faced the very different challenge of singing in the spotlight themselves.

When young Tako's father dies in Hungary in 1945, Tako is left with scant memories of him. Nurtured by his mother, the boy nonetheless fantasizes about the man his father was, imagining him to have been a hero. Grown into a man himself, Tako (Andras Balint) falls for a Jewish refugee, Anni (Kati Solyom). Burdened by her own heritage as a Jew, Anni sparks in Tako a desire to find out what his father was really like, and he delves into the role his father played in World War II.

Il ventinovenne Byung-Doo è un criminale di basso rango, a malapena in grado di prendersi cura della madre malata, dei fratelli più piccoli e dei membri della banda che lavorano alle sue dipendenze. Nel tentativo di cambiare la sua posizione, Byung-Doo si offre volontario per aiutare il boss Hwang messo alle strette da un procuratore corrotto.

"Fever" is actually one of Bunuel's plottier movies. It's set on Ojeda, an island under the control of a fictional French-speaking banana republic. Its major resources are bananas and fish, etc. But the island's real importance is its prison labor camp (modeled on Devil's Island perhaps?), where political prisoners are sent. When the governor of the island is assassinated, the governorship itself becomes a pawn in two different but intertwined games: the struggle for power on the mainland between the president and his brother and the rivalry for the hand of the former governor's widow (Maria Felix) between the new governor (Jean Servais) and the former governor's secretary (Gerard Philipe). The secretary is the film's nominal hero – an idealist who thinks he can change political conditions from within but who is increasingly corrupted out of sheer necessity for survival. Thus "Fever" also becomes a kind of morality tale. At any rate, it's surely the most politically explicit movie Bunuel ever made.

"Fever" is actually one of Bunuel's plottier movies. It's set on Ojeda, an island under the control of a fictional French-speaking banana republic. Its major resources are bananas and fish, etc. But the island's real importance is its prison labor camp (modeled on Devil's Island perhaps?), where political prisoners are sent. When the governor of the island is assassinated, the governorship itself becomes a pawn in two different but intertwined games: the struggle for power on the mainland between the president and his brother and the rivalry for the hand of the former governor's widow (Maria Felix) between the new governor (Jean Servais) and the former governor's secretary (Gerard Philipe). The secretary is the film's nominal hero – an idealist who thinks he can change political conditions from within but who is increasingly corrupted out of sheer necessity for survival. Thus "Fever" also becomes a kind of morality tale. At any rate, it's surely the most politically explicit movie Bunuel ever made.

Based on Shakespeare's play: King Lear of Britain (Orson Welles) has decided to divide his kingdom into three parts, and to hand over the responsibilities of ruling to his three daughters. The two oldest daughters, Goneril and Regan, flatter their father insincerely, and are rewarded. Cordelia, the youngest, sincerely loves her father, but she cannot match her sisters' skill at false adulation - so Lear takes away her portion of the kingdom, despite the pleadings of some of his most loyal nobles. It is not long before Goneril and Regan reveal their deep ingratitude, and soon the old king finds himself in a confusing and desperate position.

A highly styled 'genre' film which can perhaps be seen as a pastiche of all gangster movies. Tom Reagan is the laconic anti-hero of this amoral tale which is also, paradoxically, a look at morals within the criminal underworld of the 1930s. Two rival gangs vie for control of a city where the police are pawns, and the periodic busts of illicit drinking establishments are no more than a way for one gang to get back at the other. Black humour and shocking violence compete for screen time as we question whether or not Tom, right-hand man of the Irish mob leader, really has a heart.