Zbigniew Rybczyński's autobiographical Zupa follows an unnamed couple's faltering monotonous relationship.

 

Produced by the groundbreaking Se-ma-for Studios in Łódź – you may be familiar with their 1981 Oscar-winning Tango by, again, Rybczyński – the story is told through colourised analogue still #photography and electronic music and sound effects created by PRES's Eugeniusz Rudnik.

Like Rome, Cleopatra wasn't built in a day. Joseph L. Mankiewicz's epic studio breaker took six years to make and, despite it being the highest-grossing film of 1963, didn't break even until 1973. Was it a #flop? A classic flop but a flop nevertheless?

“There are never enough hours in the days of a queen, and her nights have too many.”

– Cleopatra

The star – the Queen – Elizabeth Taylor demanded an unprecedented one million dollar fee, 10,3 million in 2023 US dollars. Liz's movie dressing table hold trinkets especially designed by luxury brand Bulgari, blink and you'll miss them. The Pharaoh's lavish costumes, all 65 of them (created by Irene Sharaff who would dress Taylor again as #Cleopatra's counterpart Martha in Who's Afraid of Virginia Woolf? (1966)), cost almost 195K dollar (ca. 2 million today), and of course those 20 000 extras, shipped from God-knows-where to Hollywood on the Tiber to shoot one scene, had to look like their 2000 year old counterparts, and be fed, and housed.

 

Is it all bad? Cleopatra is one of those movies that so many – and that includes obsessive cinephiles – will get around to watch. Eventually. All four hours of it. I'm still holding out, but ooh, the spectacle!

The boss' girlfriend falls for an ambulance driver, derailing her man's gang's carefully planned narcotics heist.

– Does he crawl on four legs? What does he eat and drink?

– I've given him water to drink on occasion. He would never eat me.

Considered one of the earliest positive cinematic depictions of (male) homosexuality, Carl Theodor Dreyer's Michael tells the story of lonely artist Zoret (director Benjamin Christensen), his bright young muse and model Michael (Walter Slezak), and the more mature art critic Switt (Robert Garrison). Though it's mostly suggested – there's a female temptress (Nora Gregor) assuming a heterosexual perspective – its motif of the spoken and unspoken relationship between the men is definitely one of love, much in the same way Charles Vidor's Gilda (1946) is.

“Now I may die content, for I have seen great love.”

– opening title card

Michael is the second book adaption of Herman Bang's Mikaël (1902) after Vingarne [The Wings] (Mauritz Stiller, 1916).