Worlds collide in this unconventional essay film, when filmmaker, film historian, and archivist Daniel Kremer seamlessly edits Michelangelo Antonioni's legendary but controversial counterculture art film Zabriskie Point (1970) into the same narrative universe as Stanley Kramer's madcap epic comedy extravaganza It's a Mad, Mad, Mad, Mad World (1963). In creating these new sequences, Kremer comes to recognize that the exercise effortlessly draws cultural and historical parallels in twentieth-century American life that echo in present-day America. The editorial mashups weave a tangled web of social and cinematic history that root our notions of Americana in the mythology of the desert. As Kremer expounds in his narration on these often astonishing and sometimes shocking associations, his very personal ties to the subject matter become manifest.
Frictions develop when Yisroel "Izzy" Jonigkeyt, a Chassidic Jew from Crown Heights, travels to San Francisco to visit Polish-born Catholic friend Marek Wisniewski with the intent of discovering why a Bay Area art-world iconoclast named Harry Kierk seeks to destroy a lifetime's worth of his own work. As the visit progresses, Izzy and Marek discover for the first time that complex historical baggage impinges on their curious friendship and, soon, they begin to understand why Kierk is driven towards destruction. Continued encounters with Marek's vaguely anti-Semitic cousin Irek (who is their only gateway to contact Kierk) only compound these tensions.
Four interlocking stories with a Jazz theme. Four Women go out to visit the sites of the jazz clubs where Lou, 65 and dying of cancer, claims she once performed as a young singer. It's election night, Nov. 8, 2016 and the women follow the results on their cell phones. It's also opening night for the C Flat jazz club where they end the evening up as their worst fears are realized: Trump has won the election.
For Natia, firing bullets at her sister's head and narrowly missing is all in a days work. After taking over the family business, her sharp shooting act is the only thing keeping the declining Orbeliani Circus afloat. When a stranger and his dog drifts into her home town of Batumi, Georgia from the Black Sea, peddling his own act, Natia wonders if a change of fortune is finally on the horizon. As the circus's prospects begin to rise so do suspicions that the stranger is not who he seems. A fateful interaction forces changes upon Natia and she must leave her family to protect them from what she is becoming. Soon, she is traveling to a different city-by-the-bay, San Francisco, where confrontation and opportunity release a violent darkness rooting within her. Fighting against her loneliness and the rules of this new world, she is befriended by a troubled young artist with an innocent soul. Will this tenuous love lead her out of the darkness? Or, are they merely two halves of broken whole?
A small boy is hurt by a horse on his father's ranch and he refuses to even be near one ever again. When a storyteller called Seven arrives with his huge imposing horse Amanda, everything changes.
From Wikipedia, the free encyclopedia. Rob Nilsson (born October 29, 1939, Rhinelander, Wisconsin) is an American independent film director, writer, and sometimes actor. He has won the Caméra d'Or at the Cannes Film Festival and the Sundance Grand Jury Prize. Description above from the Wikipedia article Rob Nilsson, licensed under CC-BY-SA, full list of contributors on Wikipedia
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