The camera movements limited to “pan and tilt” consciously imitate the rectangular movie screen that is often compared with a window. The male audience looks at a peep show through the screen/window in the closed darkness. His vision of desire restricted by the camera movement indulges in mannequins, roses, prostitutes, meats and female bodies in the showcases. Both the unconscious audience and the simplified, objectified actress do not have choice. The dissonance of image and text produces harmony and disharmony to create a distance between the film and the audience. The distance seeks to dissolve the film’s suppressed form and to lead the audience to an active viewing experience.
Buddhist monks Kampala (Golden Casmara) and Targhu (Hans Wanaghi) are traveling around seeking knowledge and expanding their martial arts skills in the lands they visit.
Carolyn Sapp, Miss America 1992 (and a non-actress), plays herself in this drama based on her personal story of abuse and betrayal at the hands of the man she loved, Nu'u Fa'aola, a Samoan pro-football player for the New York Jets.
While the unemployed actor Dieter "Did" Stricker keeps his head above water as a barker, his old acquaintance Rainer turns up, who now works as a PR strategist for the radical right-wing NSDU party.
A poor French teenage girl engages in an illicit affair with a wealthy Chinese heir in 1920s Saigon. For the first time in her young life she has control, and she wields it deftly over her besotted lover throughout a series of clandestine meetings and torrid encounters.
Writes Kuchar: "It was my 50th birthday this year (1992) and my friend's birthday, so I explored our position in time and dusty place with a prognostication on future inertia.
