ADRIA is an artistic analysis of film as a medium and of its meaning as SCHOOL OF SEEING. The subjects of this analysis are the beginnings of the Austrian hobby and amateur film creation, restricted to holiday movies from the Adriatic Sea. The footage was analyzed according to set focal points (image detail, camera movement, etc.) then dissected according to serial aspects (tracking shots, pans, etc.) and edited into new sequences (descriptions, reactions, etc.) These sequences are liberated from their individual isolation and unified in a sequence that reflects the general situation. This general situation reflects upon two aspects. One is the first active involvement with film as a medium - in front of and behind the camera - and the other aspect highlights social contexts such as the first holiday abroad and organizing one’s leisure time.Therefore the private depiction of an individual situation becomes a document of a general situation.
A lifetime of taking shots has ended Rocky's career, and a crooked accountant has left him broke. Inspired by the memory of his trainer, however, Rocky finds glory in training and takes on an up-and-coming boxer.
Hypochondriac Joe Banks finds out he has six months to live, quits his dead end job, musters the courage to ask his female co-worker out on a date, and is then hired to jump into a volcano by a mysterious visitor.
Offbeat fashion student Betsy Hopper and her straight-laced investment-banker fiancé, Dylan Walsh, just want an intimate little wedding reception, but Betsy's father, Eddie, a Long Island construction contractor, feels so threatened by Jake's rich WASP parents that he blows the ceremony up into a bank-breaking showpiece, sending his wife, Lola, into a financial panic.