Slow cinema of a different kind. We spend long hours in the company of a father (Vasilis Diamantopoulos) and his sons Sakis (George Dialegmenos), Nikos (Dimitris Poulikakos), and Giannis (Nikitas Tsakiroglou). The four of them – rich, bourgeois – have inherited a country villa and the plan is to do nothing for the next seven years. No work, no unnecessary movements. There's #sleep, lots of it. And copious amounts of food prepared by maid Sofia (Olga Karlatos) – she comes with the house; chattels personal – in addition of her body to be consumed by the increasingly idle men.

“Do you want to work? What a nightmarish idea”

Οι Τεμπέληδες της Εύφορης Κοιλάδας is a slow satire, quietly addressing Greek #class struggle through the viewer's observation. Who do we follow? The father, who quickly surrenders to sloth; the sons – young, with their whole lives ahead of them; the maid – never questioning her position and slavishly fulfilling her duties of the flesh, in bed and in the kitchen?

 

The similarities are there but unlike Marco Ferreri's La grande bouffe (1973), there's no culmination in decadence. No euphoria to speak of. No grand release either; while the camera roams the mansion, attuned to #Mahler's tone poem Symphony No. 1 [Titan] – our only clue of the passing of time; even the vegetation succumbs to ennui – the story plods on. One of the men gets dressed, to go to work. It's foolish.

Jeanne Dielman routinely prepares meals, cleans the house, mothers her teenage son, and entertains men. Then something breaks and her carefully nurtured practices slowly unravel.

“I could have made mashed potatoes, but we're having that tomorrow.”

– Jeanne Dielman

Ester Krumbachová's feminist farce is a delight of many flavours. Ona (Jiřina Bohdalová) is already 40 and in need of a man. She remembers one from her youth, the handsome, slim, and very cultured Eng. Bohouš Čerta (litt. “God the Devil, Engineer”, played by the always great Vladimír Menšík), and knows that the one way to a man's heart is through the stomach.

 

Her cooking is immaculate. So are her looks and her apartment (all created by one-time director Krumbachová who worked as a costume designer and screenwriter). Unfortunately, her beau has turned boorish and stuffs his face with all but her and the furniture (is that true?). But cooking she can, and wanting she does. So she cooks and cooks and cooks up some more.

Maria “Cabiria“ Ceccarelli (Giulietta Masina), a prostitute looking for happiness, meets famous movie star Alberto Lazzari (handsomely moustachioed Amedeo Nazzari). In his plush mansion, he treats her to an opulent – if not bewildering to Cabiria – meal of lobster and caviar.

“And what's this? I saw it in a movie once.”

– Cabiria

Co-written by #Pasolini, #Fellini's Le notti di Cabiria is a love letter to hope, life, #Rome, and of course his Giulietta.

A road movie becomes interesting when the traveller is a stranger. When he or she takes that first step, head still firmly planted at home, soul on its way out.

“Salt, pepper, sugar, ketchup and napkins, New York.”

Jørgen Leth is a Danish documentary maker who in the early 80s sent sixty-six postcards from America. These postcards form a #travelogue of bewilderment. The #landscape, #food, language, anything an American may take for granted framed in a moving still. The American, ever ready for stardom, poses and orates. The scenes become show, regardless if it's a New York cabbie or a man famously (falsely) credited for predicting fame, slowly eating a Whopper.

 

The resulting 66 scener fra Amerika is as much a time capsule as it is a portrait of forever.

As part of a witty surprise, Lucía Nóbile (Lucy Gallardo) arranged a #bear and three #sheep for the lavish dinner party she's thrown for her fellow #opera-loving guests. However, the joke is not appreciated and in the cause of the evening – and a ruined dinner when the staff decides to go even before serving any of the #food – the company find that they cannot leave the salon.

“I love the spontaneity of this situation. If you'd like to spend the night, we'll make up as many rooms as needed. I'm pleased to see the old spirit of improvisation is alive and well.”

– Edmundo Nobile

While the beasts roam the house, the elite are faced with hunger, primal urges, and no motivation to leave.