A series of auditions is taking place in a museum-like living room. Various men improvise or deliver prepared lines, rehearse gestures and slogans, aim guns, and collapse as if mortally wounded. The theme of revolution is repeatedly invoked. In between, there are scenes of a desert landscape. Three men seeking to join the Mexican Revolution at the beginning of the last century have lost their way. Conflicts smolder among them, water is running low, and mutual mistrust is beginning to take hold. Placing the reenactment of a possible historical event alongside the preparations for it serves to underline the theatricality of every cinematic account of history. Moreover, on a kind of playful meta-meta-level, the scenes in which the actors feel their way through set pieces from a Beatles song or standard battle slogans allow the viewer to witness the simultaneous construction and deconstruction of a collective myth of revolution.
Hugo is an orphan boy living in the walls of a train station in 1930s Paris. He learned to fix clocks and other gadgets from his father and uncle which he puts to use keeping the train station clocks running.
Life for former United Nations investigator Gerry Lane and his family seems content. Suddenly, the world is plagued by a mysterious infection turning whole human populations into rampaging mindless zombies.
Young princess Anna of Arendelle dreams about finding true love at her sister Elsa’s coronation. Fate takes her on a dangerous journey in an attempt to end the eternal winter that has fallen over the kingdom.
When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis.