Bruno Stroszek (Bruno S.), his friends Eva (Eva Mattes) and Scheitz (Clemens Scheitz, responsible for the fairy-tale music you hear in this film) decide to leave dreary #Berlin behind and move to #Wisconsin where the latter's nephew lives. A new life, with dreams of music and animal magnetism, awaits them there.

“Was ist loos? Der Hund is loose.”

– Clayton

As so oft with #Herzog, the story behind Stroszek is as engrossing as the resulting film. Documentary maker Errol Morris and Herzog were fascinated by Wisconsin's own Ed Gein and wondered if Gein had dug up his own mother, as was rumoured at the time. As they would, they decided to open the poor woman's grave. Morris never showed up, and neither did Herzog but only because his car broke down en route to Plainfield, Wisconsin. Trying to get the vehicle fixed, Herzog entered the workshop of a Clayton Szalpinski.

 

A character in his own right, and a non-actor to boot, Clayton ended up in Stroszek as Scheitz's nephew; a MacGuffin odder than a dancing chicken.

“We're in America now.”

– Bruno S.

کلوزآپ ، نمای نزدیک is visual narrative illustrating a crime. A cinephile, Hossain Sabzian, pretends to be filmmaker Mohsen Makhmalbaf and slowly extorts a family into believing to star in the director's next film.

“Prison is good for the good and bad for the wicked. It teaches the good a lesson but only makes the wicked worse.”

– Hossain Sabzian

An article about the case intrigued director #Kiarostami so much that he decided to film the court case against Sabzian, and ask the accused, Makhmalbaf, and the Ahankhah family to reenact some of the events.

– You want a leg or a breast?

– You make the choice.

Arnold Laven's The Monster That Challenged the World is one of the earliest, if not thé earliest, example of this peculiar movie and television trope: the coroner's lunch break.

– You boys care for a sandwich? Got tuna fish and minced ham on rye.

– No, thanks.

– It's nice and cold.

Having some cold cuts over some cold cuts never gets old. Or appetising.

Set in 1950s Calcutta, মহানগর is a story of emancipation in a changing society. Arati (Madhavi Mukherjee) is a housewife from a traditionalist family, who – in order to support her relatives' lavish demands – goes out to work as a door-to-door saleswoman. Slowly, she discovers her independence.

“I've got it. Film star! You'd be perfect. Dark glasses, lots of red lipstick, and 100,000 rupees per picture. And if it's a Hindi film, we'll all fly to Bombay.”

– Bani

“Just you wait, it won't be long, The man in black will soon be here, With his cleaver's blade so true, He'll make mincemeat out of you!”

– children singing

“I done wrestled with an alligator, I done tussled with a whale; Handcuffed lightning, thrown thunder in jail; Only last week, I murdered a rock, injured a stone, hospitalized a brick; I’m so mean I make medicine sick.”

– Muhammad Ali

One day, in a quiet village, a traveling movie theatre appears. The proprietor has no words for the miracle he brings in on the reels. When it's finally time, and the whole town is crammed into the crumbling impromptu playhouse, and the lights are dimmed, a word of warning. This is the story of Dr. #Frankenstein, it starts.

“Just close your eyes and call him… It's me, Ana… It's me Ana…”

– Teresa

The old folk in the audience remember their first brush with cinema, and life, and death. For sisters Ana (Ana Torrent) and Isabel (Isabel Tellería) it may be their first, and it may as well be real. The creature, Isabel assures her younger sister, is not dead. He's a spirit and you can call for him.

 

When you're little, everything is a miracle. Milagros is the name the maid answers too. And so does the landscape, the mushrooms, the heart, and the magic of cinema.