Matthias Müller’s films are always about both the eternal and the volatile qualities of cinema. They exaggerate the unreality and clinical perfection of the Hollywood studio films of the 1950s, quoting its sets and colours (Home Stories, 1990; Pensão Globo, 1997) or even reconstructing them in minute detail (Alpsee, 1994). But, at the same time, these attributes, known in film jargon as the production values, are exposed to decay – a decay which on closer inspection proves to include wilful acts of creation. As his own lab technician, Müller is responsible not only for subsequent wear and tear, but also for the initial developing of his own film material.
In the opening chase, Martin Riggs and Roger Murtaugh stumble across a trunk full of Krugerrands. They follow the trail to a South African diplomat who's using his immunity to conceal a smuggling operation.
Three stories happening in New York. The first, by Scorsese, is about a painter who creates his works helped by high volume music and an attractive assistant; second, by Coppola, is about a rich and bold 12 years old who helps her separated parents to reconciliate; third, by Allen, is a witty piece of comedy about the impossibility of getting rid of the son's role.
When Dr. Henry Jones Sr. suddenly goes missing while pursuing the Holy Grail, eminent archaeologist Indiana Jones must team up with Marcus Brody, Sallah, and Elsa Schneider to follow in his father's footsteps and stop the Nazis from recovering the power of eternal life.