Pitfall (1962)
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The 5th woman unfolds autumn 1994. An elderly man found in a gillrad pitfall impaled to death on the sharp sharpened bamboo poles, ecstatic praise of crows. Shortly afterwards disappears a florist without a trace and he also found executed in the forest. Kurt Wallander and his colleagues will soon understand that the attacks is all about revenge.
Matsu, known to the prisoners as Scorpion, is locked away in the bowels of the prison as revenge for disrupting the smooth operation of the prison and for her disfiguring attack on the warden. Granted a one day reprieve due to the visit of a dignitary, she takes advantage and attacks the warden again. This leads to more brutal punishment and humiliation. But the punishment gives her an oppurtunity to escape along with six other female prisoners. Their surreal flight from prison pits the convicts against the guards, the warden and each other.
Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.
Two teenagers and a group of people made homeless by a tsunami try and make their way in a devastated Japan
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Fando and his partially paralyzed lover Lis search for the mythical city of Tar. Based on Jodorowsky's memories of a play by surrealist Fernando Arrabal.
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All Lodge wants is for his gaming group to finish their adventure. Unfortunately, they're more interested in seducing barmaids, mooning their enemies, and setting random villagers on fire. Desperate to rein in his players, Lodge injects two newbies into the party: a non-player character controlled by Lodge, who the power gamers immediately distrust, and the rarest gamer of all -- a girl.
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. Arriving in a strange and surreal place called 'Underland,' she finds herself in a world that resembles the nightmares she had as a child, filled with talking animals, villainous queens and knights, and frumious bandersnatches. Alice realizes that she is there for a reason--to conquer the horrific Jabberwocky and restore the rightful queen to her throne.
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Beat Takeshi lives the busy and sometimes surreal life of a showbiz celebrity. One day he meets his blond lookalike named Kitano, a shy convenience store cashier, who, still an unknown actor, is waiting for his big break. After their paths cross, Kitano seems to begin hallucinating about becoming Beat.
After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and punish whomever gives away sex (who falls in love). Maya, a young woman whose family has died, joins the group. Into the mix comes Shin, a thief who's killed a G.I. The women allow him to hide while recovering from wounds, but then he won't leave. Maya is drawn to him, discovering as she falls in love that she can feel again; she's now more fully human, but at the same time, she's endangered herself and her livelihood. Can she and Shin make it out of Tokyo to establish life as a couple?
When Jonathan Parker was 4 years old, his mother's words and a chance encounter with a Salvation Army Kris Kringle instilled in him a lifelong belief in the legend of Santa Claus. Now 24 and his parents long passed away, Jonathan is a spacey, pot-smoking college drop-out and multi loser in romance who has one shot left to find his true love; he writes a letter to Santa Claus. After meeting Toby, a new co-worker just moved to the city, Jonathan is convinced this is the one who was sent for him, even after he meets Toby's long time boyfriend Keith. This doesn't deter Jonathan, who proceeds to wreck everyone's lives in pursuit of his dream man. Fighting snags, traps and pitfalls to Christmas Day, will Jonathan land his Christmas wish?
El Topo decides to confront warrior Masters on a trans-formative desert journey he begins with his 6 year old son, who must bury his childhood totems to become a man. El Topo (the mole) claims to be God, while dressed as a gunfighter in black, riding a horse through a spiritual, mystical landscape strewn with old Western movie, and ancient Eastern religious symbols. Bandits slaughtered a village on his path, so El Topo avenges the massacred, then forcibly takes their leader's woman Mara as his. El Topo's surreal way is bloody, sexual and self-reflective, musing of his own demons, as he tries to vanquish those he encounters.
Two interwoven stories. The first is a biography of anarchist Sakae Osugi which follows his relationship with three women in the 1920s. The second centers around two 1960s' students researching Osugi's theories.
Bruce Macdonald follows punk bank Hard Core Logo on a harrowing last-gasp reunion tour throughout Western Canada. As magnetic lead-singer Joe Dick holds the whole magilla together through sheer force of will, all the tensions and pitfalls of life on the road come bubbling to the surface.
Disheartened when his story about Canadian snipers possibly mutilating corpses in Afghanistan is buried, Luke (Nick Stahl) quits his job but is even more determined to return to Afghanistan to get the real story. With his offbeat buddy, Tom (Nicolas Wright), tagging along, Luke returns to Afghanistan and intends to gather enough evidence to get his old story into print. But he soon finds that the country is an even more dangerous place than when he left. To make matters worse, his old friend and fixer, Mateen (Stephen Lobo) has been hired away by Luke's journalistic nemesis, Imran Sahar (Vik Sahay). Soon the trip for Luke and Tom in Afghanistan turns into a surreal and perilous adventure, a journey into an alternate reality, filtered through a haze of gun smoke.
In Jan NÄmecâs surreal fable, a picnic is rudely transformed into a lesson in political hierarchy when a handful of mysterious authority figures show up. This allegory about oppression and conformity was banned in its home country but became an international success after it premiered at the New York Film Festival.
In Okayama in the mid-1930s, Kiroku attends high school and boards with a Catholic family whose daughter, Michiko, captures his heart. He must, however, hide his ardor and other aspects of his emerging sexuality, focusing his energy on a gang he joins, breaking school rules, and getting into scuffles (he tells her, "Oh, Michiko, I don't masturbate, I fight"). He comes under the influence of a young tough nicknamed Terrapin, and together they lead fights against rival gangs. Gradually, Kiroku and Terrapin align themselves with the right-wing Kita Ikki, and Kiroku becomes a stand-in for the attitudes of Japanese youth who embraced the imperialism leading to World War II.
Gandu hates his life. He hates his mother. Gandu raps out his hate, anger, dirt and filth of his existence. He and his rickshawpuller friend enter the world of smack, rap, porn and horror. Reality and fiction, surreal and bizarre come together. Can Gandu survive?
In a Japanese version of "Oedipus Rex," a gay son murders his mother and sleeps with his father.
In Osaka's slum, youth without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers.
Bor, in eastern Serbia, was once home to the largest copper mine in Europe. Now itâs just the biggest hole. This astutely observed coming-of-age film captures the pitfalls of the adult world, where idealism no longer seems to have a place, as two teens come to realize they have no choice but to grow up.
Nagisa Oshimaâs most personal film is a reflection by the director on his own disillusionment with the revolutionary student movement of the 1950âs and the failure of political radicalism. Taking itâs title (as a reference or homage) from Alain Resnaisâ pivotal 1956 documentary Nuit et Brouillard, the film has a group of former student revolutionaries who meet again years later at the wedding of one of their classmates. Old feelings, rivalaries and grudges gradually erupt to the surface as the one-time friends recall the various treacheries by which their cause was defeated. Cutting between times past and the present, and unfolding the action from each of his characters viewpoints, Oshima creates an abstract and yet engrossing study of passions past and principles eroded. âYume Pictures
Amy and David are two underachievers from suburbia. Amy has had a rough life raised by her neglectful drug addicted single mother. David has been raised in a more conventional family, but his lack of motivation has driven his father crazy. When Amy meets David it seems they both find what they are looking for. But when Amy gets pregnant, both Amy and David go through a personal and surreal crisis in making choices. Which leads them to decide if they should do it the right way or the wrong way?
Sadako, cursed by generations before her and neglected by her common-law husband, falls prey to a brutal home intruder. But rather than become a victim, she forges a path to her own awakening.
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