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The Falling collapses its ambitious intrigue through overextended fainting spells. Puberty is a strong advocate for personable change. Experiencing the evolutionary adolescence that transforms sprouted children into blossoming young adults. Yet, the journey is rarely uncomplicated, demanding physical and mental energy that springs hormonal tendencies into action. None more demanding than the friendship between youthful girls, minor fraternities conjuring rites of passage to solidify bonds. Morley’s distinctively bold mystery encompasses the pubescence of an all-girl school, experiencing synchronised mass hysteria after the tragic death of a fellow pupil. A psychological contagion enabling the exploration of sexuality, moulded by misty melodrama against an autumnal period backdrop. Disturbingly beguiling in nature, through metaphorical body possessions that highlight supernatural elements within the obtrusive sexual motives. Morley, for the most part, captivates when allowing her acting talent to shine through. An innocently naive Williams bravely controlling every scene in her leading role as a psychologically deterred student whom seemingly is a catalyst for the hysteria breakouts. Hospitalised, psychoanalysed and actively withdrawn from therapy, the spells of hysteria are never elaborated. An unexplainable mass psychogenic illness. Morley’s intent in ambiguity enables her ostentatious narrative to visualise sexualisation. Hormonal chemicals invading the bloodstream and controlling the mind. A possession, if you will. Conversely, her screenplay resorts to ethereal poetry and psychedelic narration, emphasising the connectivity between these girls. Unfortunately, several conversational scenes spoon-feed proposed metaphors for the assurance of acknowledgement, most notably the one-sided therapy session that Lydia and her friends endure. Diminishing the bold interpretations that preceded the conclusive act almost indefinitely. Then the final ten minutes commence and Morley outwardly encounters her own spell of hysteria. The tone alters. The mood unequivocally changes. The pace quickens. She dabbles into darker subjects, a territory that heavily contrasts with the predominantly mystifying narrative. The virginal Lydia interrogating her neglectful agoraphobic mother regarding her father, whilst developing an incestuous relationship with her brother. Discovering her true roots, subsequently offering a hereditary reasoning for her mental instability. It’s at this point where Morley loses that tight narrative control. Explicitly presenting a shallow explanation that manages to resolve familial turmoil in a matter of minutes, allowing the supernatural aura to dissipate. Not to mention how under-utilised and misdirected Peake was. Fortunately Pugh’s illuminatingly perfect performance makes up for lost talent. The editing imaginatively strings various images together during rapid flashback scenes, which proved effective for the most part. Thorn’s soundtrack however was too audacious and overpowering, likening The Falling to a casual summer school trip rather than an existential piece of art. Morley is a credible director, and The Falling is one feature that uniquely tackles a variety of subjects in a mesmerisingly imaginative manner. Its fundamental issues however are situated in its inappropriate climax and misplaced technicalities that allow the narrative to repetitively faint far too often.
A girl called Hannah goes back to her hometown (Gatlin) to find her mother but on the way she picks up a strange man who fore-shadows her life with a passage from the bible. When she gets there she wakes up Isaac from a coma he has been in for 19 years. Isaac is awake and wants to fulfil the final prophecy.
"Little Paris" is the nickname given to Luna's hometown in provincial Baden Württemberg. Its name comes from a replica of the Eiffel Tower on a factory roof on an industrial estate next to the A9 autobahn. Luna knows she has to leave her home, the dead-end part-time jobs and a relationship which has about as much going for it as the local market. And that's not a lot. With the arrival of the mysterious dancer G. in the small town, life in the place is suddenly shaken up his erotic vibes and moves. Luna finds herself in love with G. who is different to her childhood sweetheart Ron. G. is the first one to recognize her talent and together they start rehearsing at the "Pink Palace", a huge disco, for an audition for a dance contest in Berlin. If they win, they could end up starring in a music video. With the support of G., with whom she's falling deeper in love..
Pre-American Revolution Virginian girl whose love for the outdoors leads to the friendship of a lifetime. Felicity loves horses, and though her parents plead with her to remain indoors, she years to ride the open plains. When Felicity comes into contact with a beautiful mare which has suffered at the hands of its callous owner, she takes it upon herself to care for the creature.
Stefan Balsiger is a congenial, average councillor to the Swiss embassy in Havanna. While accompanying an US senator on his mission in Cuba, he makes a botch of so many things, that a minor blunder by the Senator turns into a serious incident, which intensifies into a second Cuban crisis - thanks to further entanglements by the media, police, and diplomats who represent the arch-enemies USA and Cuba. Only one person can eventually solve the crisis: Stefan Balsiger himself.
Valeria is 17 and pregnant. She lives in Puerto Vallarta with Clara, her half sister. Valeria has not wanted her long-absent mother, April, to find out about her pregnancy, but due to the economic strain and the overwhelming responsibility of having a baby in the house, Clara decides to call their mother. April arrives, willing to her daughters, but we soon understand why Valeria had wanted her to stay away.
Shaina lives 600 years in the future. War, greed, prejudice, poverty, pollution, violence, loneliness, depression – these are things that she’s read about in history books. When an accident in a physics experiment sends her on a time-travel journey to our times, she assumes that everyone around her is honest, generous and caring, as she recruits the help that she needs to get back home.
A young woman is forced to reflect on her first relationship when she inadvertently moves into her ex boyfriend's apartment building.
Two brothers cannot overcome their opposite perceptions of life. One brother sees and feels bad in everyone and everything, subsequently he is violent, antisocial and unable to appreciate or enjoy the good things which his brother desperately tries to point out to him.
A young man turns from drug addiction and petty crime to a life redeemed by a discovery of compassion.
Leelee Sobieski is brash, abrasive and vulnerable as a teenage child of divorce who hides her pain behind a mask of hard-edged gothic rebellion. Albert Brooks plays a man who is her total opposite, a precise and well-ordered menswear store owner of forty-nine who manages limited expectations and protects lonely secrets with pleasant ritual and quiet, ironic reserve. These two total opposites collide in conflict then come together in a surprising alliance, changing each other's lives forever.
An overworked career woman leaves her life in the city for an island vacation only to encounter eccentric local inhabitants.