Wyborny’s latest flicker film concentrates on factories, industrial wastelands, waterways, cityscapes, and the bits in between, and has an uncanny emotional resonance. It is “serene, in the manner of ants”—to quote the title of the second section—but it is also elegiac and melancholy. Like two other old cranks (Godard and Straub), the director stays true to ideas about filmic composition gestated over many years and thereby provides a glimpse of a utopian cinema.
When God loses faith in humankind, he sends his legion of angels to bring on the Apocalypse. Humanity's only hope for survival lies in a group of strangers trapped in an out-of-the-way, desert diner with the Archangel Michael.
A bored and domesticated Shrek pacts with deal-maker Rumpelstiltskin to get back to feeling like a real ogre again, but when he's duped and sent to a twisted version of Far Far Away—where Rumpelstiltskin is king, ogres are hunted, and he and Fiona have never met—he sets out to restore his world and reclaim his true love.
Alice, an unpretentious and individual 19-year-old, is betrothed to a dunce of an English nobleman. At her engagement party, she escapes the crowd to consider whether to go through with the marriage and falls down a hole in the garden after spotting an unusual rabbit.
When the kingdom's most wanted-and most charming-bandit Flynn Rider hides out in a mysterious tower, he's taken hostage by Rapunzel, a beautiful and feisty tower-bound teen with 70 feet of magical, golden hair.