Armada (1977), Julio Neri's first political film, was made at a time in which several Latin American countries –most importantly Argentina and Chile— had seen a turn towards military dictatorships. Neri questions authoritarian regimes through the narrative of a devoted but free-loving daughter, Armada, and her military father. Armada's line of argument departs from the militant films made by New Latin American Cinema directors in the 1960’s. Rather than openly opposing the violent and repressive regimes (represented by the father), Armada establishes a complex relationship in which the daughter is divided between the love towards her father and the love towards her freedom. However, Armada's death at the hands of her violent father clearly condemns the use of violence and is thus a call to action against repressive regimes. As many Super 8 films of the 1970’s and 1980’s, Armada has a synchronized sound track rather than diegetic sound.
Don Diego goes to war and his son Don Gonzalo is, in his absence, the new lord of the region. The milling Elvira, one of the mistresses of Don Diego, has a beautiful daughter, Elena, who has the desire of Don Gonzalo.
Avant-garde appeal on behalf of and made by the adventurous leftist London cinema, The Other Cinema, using the facilities provided by the BBC community programme unit.
Encouraged by the stories of guest workers who pay visit to their homeland, a young man Filip finds himself on a central station in Frankfurt on the Main, Germany.
First-time father Henry Spencer tries to survive his industrial environment, his angry girlfriend, and the unbearable screams of his newly born mutant child.
a time-lapse glimpse of the Madison, WI skyline from dusk to dark. Shot from within a hotel room, the street traffic and the reflected interior interpenetrate in gradually shifting superimposition.
When ex-con artist Harry claims that a secret treasure is hidden inside Candleshoe, an English estate, he creates an elaborate plan to find and steal the prize.
