John Waters' first sixteen-millimetre film, about a deranged nanny who kidnaps young girls and forces them to 'model themselves to death' in front of her boyfriend and their crazed friends. It was never shown commercially.
When a virtual home assistant speaker, Luna, picks up the strange noise Chester has heard in his house, he realizes that it may not be a symptom of dementia.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her.
Basil Stitt, in the aftermath of an inexplicable incident, decides to sequester himself inside his apartment, setting the stage for a profound transformation.
The disappearance of her sock at a local laundromat sends a fragile Rita over the edge. Hellbent on finding it, she searches deep and gets sucked into a washing machine, entering an otherworldly cycle from which she may never escape.
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding.
Anthony Steffen, as a young gunman who works as a circus performer, witnesses the killing of some outlaws, carried out by their leader and is credited with the deed.
Three identical prints of a single 100 foot fixed-camera take are shown from beginning to end-roll light-flare, with a few feet of blackness preceding/bridging/following the rolls.
A Southern soldier in the American Civil War is sent to reconnoiter the enemy positions and becomes trapped beneath a huge pile of rubble by Northern cannon fire.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.