Alejo Moguillansky offered a beguiling fusion of dance theatre and film noir in Castro (LFF 2009); now he turns to comedy in this gentle, melancholic love story in which the film-within-a-film plotline is refracted through a dry, deadpan humour. A film crew are making a documentary on contemporary dance theatre in Argentina, with the sound recordist (El Loro – ‘The Parrot’ in English) caught in the midst of a messy break-up with his girlfriend, who has dumped him by letter. Loro begins to fall for one of the dancers in the film, only for her to disappear and leave him with a dilemma. Moguillanksy details the labour involved in the creative process with adept, playful energy, making The Parrot and the Swan not only a contemplation of dance on film but also a teasing romance where the object of desire is always somewhat out of the hapless Loro’s grasp.
The brash-but-brilliant industrialist Tony Stark faces an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible.
In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine.
Iconoclastic, take-no-prisoners cop John McClane, finds himself for the first time on foreign soil after traveling to Moscow to help his wayward son Jack - unaware that Jack is really a highly-trained CIA operative out to stop a nuclear weapons heist.