In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed. Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created. Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does. The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration. But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.

Tracing the struggle of the Algerian Front de Liberation Nationale to gain freedom from French colonial rule as seen through the eyes of Ali from his start as a petty thief to his rise to prominence in the organisation and capture by the French in 1957. The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell the revolt.

大阪市に貧しい人たちが集まる釜ケ崎地区があった。 そこの豆腐屋に、一人のちょっと知的ハンデがある少女テコ（中山千夏）が1円分オカラを買いに来る。 迷惑がる豆腐屋に対し、ポリエチレン袋に包んでくれという。 その少女が、帰る途中、トラックと乗用車の衝突事故を目撃したと簡易宿泊所「釜ケ崎荘」の住民たちに報告する。 一斉にその事故現場に走る住人たち。 彼らは、大して怪我をしていない運転手を無理矢理病院へ行かせると、たちまち、乗用車を解体してホテルに持って帰る。 それを、たちまちの内に馴染みの業者に叩き売って、警官が調査に来た時には、全員知らん顔。 その釜ケ崎荘は、がめつい事で評判のお鹿（三益愛子）婆さんと、その息子の健太（高島忠夫）がどん底生活をしている常連たち相手に、1日30円の宿賃を取って経営していた。 孤児だったテコは、そんなお鹿婆さんに拾われて育てられていたのだった。 常連客の中には、お鹿の娘お咲（原知左子）と組んで「美人局」で稼いでいる雄さん（藤木悠）や、父親がロシア人であったため赤毛のおたか（安西郷子）のヒモのような暮らしをしているポンコツ屋の平熊吉（森雅之）、この辺一帯の地所は、戦前は、自分の父親小山田家の所有であり、それを当時下女中をしていたお鹿に乗っ取られたと主張しているホルモン焼き屋の初江（草笛光子）とその妹絹（団令子）などがいた。 そんな釜ケ崎荘に、ある日、東京からやって来たお鹿婆さんの義弟という向山彦八（森繁久彌）なる、怪し気な中年男がやってくる。 彼は、お鹿婆さんはもともと小山田家の下女中をしていた事があり、今では3000万円ためているそうじゃないかという話を息子の健太の前でするが、当のお鹿婆さんは頭から否定する。 しかし、その話を聞いていた熊吉は、後日、初江に声をかける。 初江のいう小山田家の土地の話が本当なのなら、自分が手を貸そうというのであった。 最初は、自分を口説く目的の冗談だと相手にしなかった初江だったが、妹の絹は戦前の暮らしの事等知らず、今は健太と結婚する事だけを夢見ているし、裁判ざたに持ち込もうと考えてはいても、自分一人では何の知恵もでない彼女は、とうとう熊吉の誘いに乗って、彼に身体と権利書を奪われてしまう。 しかし、それまで男を知らなかった初江は、すっかり熊吉を信じ切ってしまったのだが、それを敏感に感じ取っていたのは、占師をしている内妻のおたかであった。 彼女も又、昔、パン屋を夢見てためていたわずかばかりの金を、熊吉に言葉巧みに奪われていた過去を持っていたからであった。 熊吉は、権利書を健太に安く売ろうとするが、お鹿婆さんが頑として金を出そうとしないので、とうとう、ヤクザの升金（山茶花究）に売ろうとし、逆に買い叩かれてしまう。 やがて、その権利書を盾に、釜ケ崎荘に立ち後要求に子分（西村晃）たちがやって来るが、お鹿ばあさんはびくともしない。 しかし、自分と絹との結婚資金も寄越さないそんな頑な母親に、健太は反旗を翻そうとするのだが…。

A woman remembers her own marriage when dealing with the love life of her son.

1968 film by François Truffaut

Japanese fishery instructor Akira is attracted to beautiful Cuban young girl Martia. Though initially rejected, Akira still returns with Martia to her homeland. On the way he sees a post-revolution Cuba, cultivating fields, relics from the revolution, armies in training, and Castro in a political rally.

A recently divorced man and an emotionally devastated widow begin a love affair.

During the bombing of Naples in World War II, a cynical businessman helps a naive prostitute, who spends the next two decades desperate to have him reciprocate her feelings.

In the midst of a civil war, a pair of former violinists in a tempestuous marriage oversee a farm on a rural island. In spite of their best efforts to escape their homeland, the war impinges on every aspect of their lives.

1961 film by Ingmar Bergman

A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer.

1960 film directed by Nagisa Ōshima

1961 film by Nagisa Ōshima

The story of a donkey Balthazar as he is passed from owner to owner, some kind and some cruel but all with motivations beyond his understanding. Balthazar, whose life parallels that of his first keeper, Marie, is truly a beast of burden, suffering the sins of humankind. But despite his powerlessness, he accepts his fate nobly.

A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.

1969 Japanese drama film directed by Toshio Matsumoto

1962 Japanese film by Yasujiri Ozu

film directed by Toshio Matsumoto

Two chaotic series of images, one for each eye. Hipster living, malformed fetuses, war, arts events and pop culture stands for the material.