J'ENTENDS LE NOIR (WITH ENGLISH SUBTITLES) is an original semantic exercise in which the subtitles gradually emerge from their traditional function to acquire autonomy in relation to the image and thus provide information about the conditions of production of the film. The story, supported by a voice-over, is based on a series of haunting images showing the body of a woman dead in a forest, then carried by a naked man: it is the story of a crime of passion. But this story is gradually diverted by the gap between the narration and the subtitles, then by the sound interventions.
On a West German Autobahn, Robert plummets from a bridge and is hospitalized. As he recovers, he flashes back to a Bulgarian holiday where he met Jutta and her uncle Lothar, who’d ordered a West German passport to smuggle her out of the DDR.
As he gradually turns mad, the dancer Nijinsky evokes the important episodes of his life. In costumes and sets of lush beauty, the divine puppet performs in a final show where the secondary characters are named: Diaghilev, Isadora Duncan, Stravinsky, Auguste Rodin, Léon Bakst.
Dim-witted and stuttering Pidol is the brunt of his townsfolk's ridicule. Not even being reconciled to his dad Andres changes his luck, for under Andres' nose Pidol is tormented by his stepmother Husing and stepdaughter Sunshine.
Lucia (Natassja Kinski) is a volatile, exciteable young woman. She forms a romance with Carlo (Stefano Dionisi), who is somewhat callow and is very skittish.
Three part anthology with stories involving a Phantom of the Opera-style killer haunting a theater, four punks who pick the wrong house to rob and a man on the hunt for Bigfoot.
The boisterous good humor of Jurmala, the nickel-mine owner, is, if anything, only barely dented by the raging battles in Finland before, during and after World War Two.
