The large translucent screen that dominates the film clearly shows Manuela de Freitas' body holding a candle, or rather a shadow (reflection) of that body and the dominant figure in the film, a variation of reflection, blurring, and shadow. This is a shadow theater for a cinema of reflections, from which other bodies emerge rhythmically, which in turn are reflections of souls. In this black and white, silent film, the bodies are the only materiality, and it is no coincidence that the film—a film about the body and soul of Manuela de Freitas—is titled Manuela.
In a French seaside town, at a boarding house for civil servants recovering from surgery and maladies, the six male residents' lives change dramatically when two women arrive: Catherine, lively, sexually liberated, willing to kiss, dance, and sleep with the men, and Leonie, reserved, formal, conservative.
Jack White throws a big party at which many of the artists he has produced perform. He has had an eventful life in which he has always remained true to his ideals, first as a footballer, then as a pop singer and then as a producer, even in the face of fierce opposition from others.
This Spanish-Italian co-production tells the story of a man who feels deep guilt for the death of his wife: he, an alcoholic, is convinced that he accidentally caused her fatal fall in their house while he was drunk.
A frustrated Frankfurt innkeeper is recruited as an agent for the "Gehlen Organization" and after a short training period, during which he is familiarized with sophisticated espionage methods, he takes his first steps as a spy.
