Miroku-Maitreya

Shanghai, 1939. A sad violin tune plays throughout the city. Little Rina and her younger brother Mishalli have fled to Shanghai from Europe, waiting to be reunited with their parents.

Children of the slums survive shadow buried streets hidden behind masks. Chasing after a masked young girl carrying a mysterious box.

The movie depicts the story of the Sikh women during the tyrannical times of Mir Mannu, who carried out large-scale massacre of Sikhs.

A falling character lands on a planet and discovers every living creature is asleep. Confused and curious, he wanders the planet and wakes everybody up but only ends in disaster.

The story is based on Guy de Maupassant's novella of the same name. The soundtrack is largely the same text. The film is a mixture of live action and animation filmed in various techniques. In many scenes images coalesce into tableaus. Each subject is given apparent levels of meaning, which in turn stand beside and on top of one another on equal footing. The meaninglessness of that which seems so certain such as gender or age is exposed with great relish. The individual threads run parallel, only touching occasionally but nevertheless influencing the overall image. Boule de suif is ultimately sold down the river. The visual language in its complexity is reminiscent of commercial television, particularly of infomercials with their continuous fade-ins and over-blendings. The shifts in meaning inevitably evoke contradictions that at times seem bizarre. Everything combines to form a fantastic panorama of shapes and colors that goes far beyond any narrative and in large parts venerates the pure form.

The Warsaw Ghetto Uprising has become a symbol of heroism throughout the world, but it's generally accepted story is incomplete. Among the fighters was a group that was not granted commemoration, although it was responsible for the uprising major battle.