Monteiro moved far away from the visual opulence defined by his earlier films with his inspired adaptation of radical Swiss writer Robert Walser’s anti-fairy tale. Carefully restricting the image track, Monteiro maintains an almost totally black screen in order to focus instead on the voices of Snow White, the Prince, the Queen and the Hunter, engaged in an extended debate about love, free will and the events leading up to the fateful attempt on the maiden’s life. Despite its visual austerity, Snow White is haunted by the arresting images with which it begins – infamous black-and-white photographs of Walser lying dead in the snow after his heart attack outside a Swiss asylum at the age of seventy-eight, a strange realization of the “death of the author” so central to postmodern literary criticism.
In India, open romance is forbidden, as is showing affection in public. A college principal named Narayan is a strong believer in this, aware that a male student named Vicky is in love with Ishika; while another male student is hopelessly in love with Sanjana; and a third man named Karan is in love with a married woman named Kiran.
In Japan, the vampire-hunter Saya, who is a powerful original, is sent by her liaison with the government, David, posed as a teenage student to the Yokota High School on the eve of Halloween to hunt down vampires.
When Geoff, an orphaned stable boy (Chris Masterson), discovers Drake (voice of Robby Benson), the world's last living dragon, he realizes that his dream of becoming a knight in shining armor can now come true.