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Directing • You Make Me Dance, My Sweet Dear, REC
Struggling with AIDS, Aimée comes out of the hospital. Her friend Francine leads her to the Maison Bleue for her convalescence. But Aimee's state of health does not improve: she falls into mental confusion and must stay at the Blue House until her death.
Woo-gon, a passionate manager who lost everything due to stock advertisements and a specialist gets together to find out the truth behind the rumors that have shaken up the country. From precious information to distribution, this crime chasing movie surrounds the invisible truth.
Two young women bond while living together out in the California desert to be close to their boyfriends who are serving time at the nearby state prison.
Movie scenes, montages of images and text, as well as conversations between Alexander Kluge, playwright Heiner Müller and classicist Wilfried Stroh provide a multifaceted insight in the far-away world of Ancient Rome. The conversation with Müller revolves around Tacitus' representation of the Roman Empire around 112 AD. First, Müller reads passages from the historicist's annals that describe Tiberius' tragic death (37 AD). Kluge and Müller discuss the text's aesthetic qualities. Müller is interested in Tacitus for the aesthetic pleasures rather than out of historical curiosity. He describes Tacitus' style as "transition from chronicle to literature," which manifests in his "elliptical," sometimes laconic narration.
Kotarou Azumi and Akane Mizuno became third year students at junior high school and are classmates for the first time. These two, along with fellow classmates, Chinatsu Nishio and Takumi Hira, relate to their peers through mutual understandings and feelings. As their final year at junior high school progresses, the group overcome their challenges to mature and become aware of changes in themselves.
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