Initial panorama of Brindisi, a city with a peasant tradition. The petrochemical, city within a city. Children in poor neighborhoods, workers' voices: the crisis, the layoffs, the need for the recommendations of the Christian Democrats to enter Montecatini. Wealthy men and women binge at the restaurant. Voices of agrarians, forced to leave the earth to make room for the petrochemical. A ballroom. In a puppet theater, a show is staged in which the worker is addressed as "starved". At a course for foremost workers, various compliant testimonies follow one another: Monteshell is a large industry, and no one has any criticisms against it. But another worker, elsewhere, with his face in the shadows, confesses that everyone is afraid to speak, skilled workers get the same pay as simple ones, 400 colleagues have been fired, union activists are "special supervised", and going on strike is a business. 35mm b/w

A film director has problems coping with his wife and marriage. The daughter is their only connecting link. He is looking for love and sex elsewhere. A married woman becomes his new partner for a while.

Hoping to hear his own song over the radio of his 1965 Rambler, Ben Vaughn tries to record an album in the car while his friend Bob is trying to repair it.

Experimental film

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A mythical comedy

Documentary about Ali's life in 1965.

Rio de Janeiro, in the period in which the Police Pacification Units (PPUs) were beginning to be deployed in the city. Edna (Lilia Cabral) is the mother of Julio (Pedro Nercessian) and Silvio (Fiuk). One day she wakes up desperate to see that Julio just disappeared!

远离特拉维夫和大城市的犯罪活动，40岁的达芙娜是一名有前途但口无遮拦的警官。她来到了小镇阿富拉，在这里处理一些轻微的犯罪案件，在酷热中寻找阴凉之处，照顾她那脾气暴躁的猫。而更重要的是，她要躲开那个烦人的问题：“你什么时候结婚生子？”这时，奥莉·埃利梅尔失踪了……

Kren’s 10/65 Selfmutilation is developed from a Gunter Brus “action”. What the film emphasizes is the surrealistic drama of symbolic self-destruction that Kren drew out of Brus’ action, pacing out each gesture so that one gets a tense, iconoclastic revelation of a man covered in white plaster lying surrounded by razor blades and a range of instruments looking as if they have been taken from an operating theatre. The blades, scissors and scalpels are gradually inserted into him in a ritualistic self-operation. (Stephen Dwoskin)