Confrontation between creation and intolerance

Life is "a tale told by an idiot, full of sound and fury, signifying nothing." William Shakespeare, with words written four centuries ago, inspired animator Jacques Giraldeau to dwell on man's passion for life, and his propensity to destroy himself. The result, Opéra zéro, is a technically complex and fascinating animation film using cut-outs, drawings, xerography, prints, photography, etching and engraving techniques, and requiring more than 50 000 different manipulations of the material.

Desde la Raíz is a captivating four-part series that dives deep into the essence of Mexican culture by exploring four iconic products. From the ancient origins of corn to the fiery allure of chili, from the aromatic richness of coffee to the mystique of mezcal, this series celebrates the flavors, aromas, and stories that shape Mexico's cultural identity. Each episode offers an immersive journey through the rich history, cherished traditions, and bright future of these quintessential elements.

Natalia and Daniel, a young professional couple, are expecting their first child and face a series of paranormal events. These are triggered when the couple finds a story Daniel wrote in his teens. The terrifying events begin to drive them apart, until Natalia and Daniel discover that the fictional story they found is only an expression of the reality they are living—past and present. Daniel drastically decides to put an end to the curse that hangs over them, unwittingly falling into a new circle of destiny, where they will be consumed by the ghosts of their past.

暂无英文版的简介，请添加内容帮助我们完善数据库。

暂无英文版的简介，请添加内容帮助我们完善数据库。

A Paris street scene.

Noted for the first use of time-lapse in a motion picture.

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enigmatic and virtuous man, Salome is ready to do anything to possess him, dead or alive. Drawing on Oscar Wilde’s scandalous play of the same name, in 1905 Richard Strauss produced the work that was to ensure his status as Wagner’s successor in the history of German opera. A dazzling hour and forty minutes, decadent in its very essence, which, for her debut at the Paris Opera, Lydia Steier treats as a dystopia in which amorality rules.