How far can a group of young people accept the otherness of a marginal person they are trying to welcome among them ? We won't know a lot of things about him. He will depart just as mysteriously as he had come, leaving behind him wall paintings of stunning quality and that sentence painted on a garage door : "Music soothes the savage breast." His brief stay has disrupted that young microcosm. It gave those young people an opportunity to reveal their personality to each other. Some appear as intolerant, others as cowardly and some as braver than the rest. We are tempted to consider this film as a documentary fable. Indeed, it has that eternal quality that is found in all founding narratives, since it raises a question that is as old as humanity : difference.
The Bed opens with Jamie, a young man, looking round an old, deserted country house. Through flashback we see Jamie as a boy, scared out of his wits when his older sister and her boyfriend, left alone in the house to babysit Jamie for the evening, play cruel tricks on him.
A journalist sets out to report on a minor earthquake in the Australian outback, and finds that the tremor was a result of a small nuclear explosion - part of an extortion threat that has the government fearing nuclear blackmail.
In 1963, living a routine life on Norma Place in Los Angeles, recluse writer Dorothy Parker and bisexual husband Alan Campbell recall their often-rocky relationship, started thirty years earlier.
Sally (Sally Yeh) is a club singer, caught in a love rectangle between three men: Stone (Kenny Bee), a bank robber newly released from prison, club owner Paul King (Michael Chan Wai-Man) and Pow (Melvin Wong), a policeman.
Tomisaburo Wakayama is back with a new take on the classic Yamamoto Shugoro masterpiece “Ame Agaru” as a samurai on the run with his bride who makes a living by challenging dojo masters to a match, then taking money from them to keep quiet about it.
