Au sommet d'un immeuble de style néo-classique, un homme regarde le ciel, une femme lit, les cheveux au vent.

Au sommet d'un immeuble de style néo-classique, un homme regarde le ciel, une femme lit, les cheveux au vent.

http://www.imageforum.co.jp/ito/dvd_e.html 　　http://www.imageforum.co.jp/ito/dvd.html

http://www.imageforum.co.jp/ito/dvd_e.html 　　http://www.imageforum.co.jp/ito/dvd.html

“If you had to choose between me and your mother, who would it be?” Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music, with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions – particularly when jealousy raises its head. 　　Júlio Bressane, a major exponent of Brazilian avant-garde cinema and IFFR Film Maker in Focus in 2000, derived his material from the famous novel Dom Casmurro (1899) by Machado de Assis, who, like Casmurro, was tormented by epilepsy. Bressane composed this film in the form of a frank exploration of visual and theatrical possibilities; during a musical interlude, the violinist appears in the shot. Capitu and the Chapter is interspersed with fragments of Bressane’s previous works and leaves itself open to many interpretations.

“If you had to choose between me and your mother, who would it be?” Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music, with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions – particularly when jealousy raises its head. 　　Júlio Bressane, a major exponent of Brazilian avant-garde cinema and IFFR Film Maker in Focus in 2000, derived his material from the famous novel Dom Casmurro (1899) by Machado de Assis, who, like Casmurro, was tormented by epilepsy. Bressane composed this film in the form of a frank exploration of visual and theatrical possibilities; during a musical interlude, the violinist appears in the shot. Capitu and the Chapter is interspersed with fragments of Bressane’s previous works and leaves itself open to many interpretations.

少年斯琴图在最后一颗牙齿将要脱落的冬天，因为沉溺对母亲离去的思念和过往不算美好的回忆中，与父亲的关系总是没有很亲近，草原上筹备许久的围猎即将到来，父子二人计划前去参加，最后一颗牙齿脱落的那一年冬天，像清风一样，常常在梦境中出现在斯琴图的脑海中...

少年斯琴图在最后一颗牙齿将要脱落的冬天，因为沉溺对母亲离去的思念和过往不算美好的回忆中，与父亲的关系总是没有很亲近，草原上筹备许久的围猎即将到来，父子二人计划前去参加，最后一颗牙齿脱落的那一年冬天，像清风一样，常常在梦境中出现在斯琴图的脑海中...

We see a working dog, a beggar's dog, a shepherd's dog, and a milkman's dog. The working dog is locked inside a large wire wheel; the dog runs inside the wheel, turning it to run a machine. The beggar's dog pulls its legless master, who's sitting on a low cart, down the street. The shepherd's dog keeps a flock of at least 20 sheep in a tight circle. The milkman's dog pulls a cart on which is mounted a large cylinder of milk. A lad leads the dog to a house with a Dutch door; the top half of the door opens, and the lady of the house hands out a pitcher that the boy fills as the dog waits.