Dough-crazed mercenaries Sammy and Klaus are on a mission to escort the seriously ill prime minister of a South American country that has just been taken over by the rebels to his buddies over the border. Chased by the rebels, and with the politician's health rapidly deteriorating, they stumble onto an infirmary staffed by a quartet of nurses and take them hostage, forcing them to cure the prime minister, and fast. After an initial rape, romantic feelings begin to emerge as Helga has it off with Klaus, Katrin with Sammy, and Sophie with Hellen…until a squadron of rebels drops in.
Uno stravagante pianista di pianobar (Sergio Castellitto) incontra una giovane donna (Francesca Dellera) che ha appena abortito ed è sola. Si rinchiudono nella casa al mare di lui dove mangiano e fanno l'amore. Quando la donna annuncia la sua partenza lui la uccide, la seziona e la conserva in frigorifero per cibarsene.
These quartets are Juilliard specialties, and anyone wanting to hear this music played with a near ideal combination of virtuosity and humanity need look no further. Carter's quartets are not for the musically faint of heart: they are uncompromisingly thorny, intricate pieces that require lots of intense, dedicated listening. Very few people doubt their seriousness–or even their claims to musical greatness–but just as few people enjoy listening to them. Perhaps this spectacular set will encourage the adventurous to give them a shot. They're worth the time.
"Arrau's Chopin – now available in a six-CD box (Philips 432 303-2) as part of Philips's Arrau Edition – is as far from moonstruck "sentimentality" as any Chopin ever was. But no performance of the Preludes is more sentimental, in Schiller's sense, than the version Arrau recorded for Philips in 1973. Its premise – that the cycle is a grand tragedy, the darkest thing Chopin wrote – is unmistakable. Even the prefatory C-major Prelude heaves with orgasmic rubatos – more weight, it seems, than the music can possibly bear. And yet, as Arrau packs each small berth with a world of feeling, the weight grips and holds. At times, the sheer density of emotion can seem suffocatingly intense. The Prelude No. 22, a Stygian descent, is surely Hades; the plunging scales of No. 24 rip the thread of life."