A surrealist satire describing the power that is used to dehumanise and deny individual liberties in the name of order and the common good.

A surrealist satire describing the power that is used to dehumanise and deny individual liberties in the name of order and the common good.

Director Idrissa Ouedraogo's sixth feature, The Cry of the Heart, takes us on a journey with strangers to a strange land, and shows us that demons, even if only imagined, can be devastatingly real. Sometimes, love and understanding aren't enough, and there are occasions when it takes the aid of an outsider to fight that single, decisive battle. 　　Moctar was born in France, but it is his "home" in name only. At age five, he and his mother, Saffi, had to move to Africa when Ibrahim, Moctar's father, could no longer afford to feed three mouths. Now, after years of separation, the family is reunited in France. But Moctar is suffering culture shock. He wants to return to Africa; everything about Europe seems wrong. Then he begins seeing a hyena roaming the streets of Paris, appearing in some of the most unexpected places. Since "there are no hyenas in France", everyone thinks he's hallucinating, with one exception: Paulo, a man Moctar meets on the streets, who sees in the boy a chance for atonement. 　　The Cry of the Heart has a tremendous gallery of characters participating in a deceptively simple tale that touches on a universal fear of the unknown. Moctar's hyena in obviously an allegorical figure, and his struggles represent an externalized war against the unfamiliar. Meanwhile, Paulo is battling to redeem himself by proving that isolated incidents in his past do not define the sum of his personality. 　　Ouedraogo handles his principal characters with a deft hand. Rarely is a husband-and-wife relationship portrayed with the genuine sense of affection and passion shown here, and the pair's concern for their troubled son is equally believable. This is toned-down and touching drama, not melodrama, and, along the way, we're treated to enough moments of levity to keep The Cry of the Heart from becoming needlessly somber. 　　Often, simple movies are the most stirring and emotionally-satisfying. Such is the case with The Cry of the Heart. It's an impressive motion picture because it touches on so many issues without appearing to do much at all. It can be enjoyed on many levels, from the deeply symbolic to the strictly realistic. However, regardless of what else an individual gleans from this film, the story of a family struggling to connect and communicate is likely to strike a responsive chord.

Director Idrissa Ouedraogo's sixth feature, The Cry of the Heart, takes us on a journey with strangers to a strange land, and shows us that demons, even if only imagined, can be devastatingly real. Sometimes, love and understanding aren't enough, and there are occasions when it takes the aid of an outsider to fight that single, decisive battle. 　　Moctar was born in France, but it is his "home" in name only. At age five, he and his mother, Saffi, had to move to Africa when Ibrahim, Moctar's father, could no longer afford to feed three mouths. Now, after years of separation, the family is reunited in France. But Moctar is suffering culture shock. He wants to return to Africa; everything about Europe seems wrong. Then he begins seeing a hyena roaming the streets of Paris, appearing in some of the most unexpected places. Since "there are no hyenas in France", everyone thinks he's hallucinating, with one exception: Paulo, a man Moctar meets on the streets, who sees in the boy a chance for atonement. 　　The Cry of the Heart has a tremendous gallery of characters participating in a deceptively simple tale that touches on a universal fear of the unknown. Moctar's hyena in obviously an allegorical figure, and his struggles represent an externalized war against the unfamiliar. Meanwhile, Paulo is battling to redeem himself by proving that isolated incidents in his past do not define the sum of his personality. 　　Ouedraogo handles his principal characters with a deft hand. Rarely is a husband-and-wife relationship portrayed with the genuine sense of affection and passion shown here, and the pair's concern for their troubled son is equally believable. This is toned-down and touching drama, not melodrama, and, along the way, we're treated to enough moments of levity to keep The Cry of the Heart from becoming needlessly somber. 　　Often, simple movies are the most stirring and emotionally-satisfying. Such is the case with The Cry of the Heart. It's an impressive motion picture because it touches on so many issues without appearing to do much at all. It can be enjoyed on many levels, from the deeply symbolic to the strictly realistic. However, regardless of what else an individual gleans from this film, the story of a family struggling to connect and communicate is likely to strike a responsive chord.

Norman Logan and William Tritt both live in the same boarding house. Tritt is a teller at a local bank and Logan is convinced the Tritt cheated him out of $200 on a deposit he made a year ago. Since that time he has been harassing Tritt in an attempt to get him to admit his error, but to no avail. Logan then hatches a plot to discredit Tritt in the eyes of his superiors at the bank. He buys a fake gun and pretends to rob the bank but by the time Tritt has raised the alarm, Logan has hidden the gun in an unused and nearly impossible to see drawer in an old table. He continues with these charades until he finally gets what he feels is his due.

Norman Logan and William Tritt both live in the same boarding house. Tritt is a teller at a local bank and Logan is convinced the Tritt cheated him out of $200 on a deposit he made a year ago. Since that time he has been harassing Tritt in an attempt to get him to admit his error, but to no avail. Logan then hatches a plot to discredit Tritt in the eyes of his superiors at the bank. He buys a fake gun and pretends to rob the bank but by the time Tritt has raised the alarm, Logan has hidden the gun in an unused and nearly impossible to see drawer in an old table. He continues with these charades until he finally gets what he feels is his due.

3 part ‘Jelenlét’ series by Jancso, from 1965 to 1986. Második jelenlét ('The Second Presence') (1978) 10 min.

3 part ‘Jelenlét’ series by Jancso, from 1965 to 1986. Második jelenlét ('The Second Presence') (1978) 10 min.

在一次两个著名的攀登者见面中，一个是颇有经验的登山运动员，另一个是自由登山人，记者伊凡对两个人哪个是最好的攀登者打了赌。罗杰(登山专家)说马丁(自由攀岩人)在真正的攀登路上一天也活不了，虽然他是世界竞技攀岩冠军.他们打算攀爬美国南部巴塔哥尼亚的“瑟拉托里”山。这是一座非常难爬的处女峰……

After a story of Tamara Tinberg, "Seventh Symphony". The Leningrad block. February 1942. Ends the worst blockade winter. Nina Voronova completely desperate. Her three-year-old son, Mitya, has weakened, and the ration cards have already been delivered two qigou.cc days in advance. Last hope - evacuation. But with small children do not take. Then the woman goes to a monstrous step - is evacuated, leaving her son alone in a frozen apartment. During the raid, the boy is saved by a teenage girl Katya Nikonorova. The girl gives Mitya for her brother and promises herself to do everything so that Mitya survived. No matter what.