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.
John McClane is an off-duty cop gripped with a feeling of déjà vu when on a snowy Christmas Eve in the nation's capital, terrorists seize a major international airport, holding thousands of holiday travelers hostage.
Joe's a car salesman with a problem. He has two days to sell 12 cars or he loses his job. This would be a difficult task at the best of times but Joe has to contend with his girlfriends (he's two timing), a missing teenage daughter and an ex-wife.
Wounded Civil War soldier, John Dunbar tries to commit suicide – and becomes a hero instead. As a reward, he's assigned to his dream post, a remote junction on the Western frontier, and soon makes unlikely friends with the local Sioux tribe.
The Ages of Lulu is a gruelling sensual odyssey from Spanish director Bigas Luna, made immediately prior to his popular trilogy Jamón, jamón (1992), Golden Balls (1993) and The Tit and the Moon (1994).