« L'image que les Occidentaux se font du tantrisme découle généralement de certaines manifestations spectaculaires ou dégénérées qu'ils ont eu l'occasion de voir ou, bien plus souvent encore, qui leur ont été décrites après avoir passé par de nombreux intermédiaires. …
Its extraordinary dimensions, as long as 15 metres, and shape in the form of a silver ribbon, inspired the myth of the sea serpent. For the past two years, scientific buoys, immersed at a depth of two thousand metres in the Mediterranean have attracted countless species of pelagic fish; among them, the Giant Oarfish drifting vertically, alone or by pairs. With the help of the world expert in Giant Oarfish and logistic collaboration of enthusiasts, a scientific expedition reveals the biology of this enigmatic ambassador of the abyss. Entirely shot in HD, the film raises the veil on its paradoxical habits: why do all the adults self-mutilate and rid themselves of two-thirds of their bodies without being affected? How do they meet in the immensity of the ocean? Why does this fish not have any known predators?
A ruthless gang led by private detective Joseph Plender is extorting rich people and famous fashion photographer Vincent Mandel seems the next victim. He is married to Hélène, daughter of one of the richest people in Europe, but not quite happily. In fact the marriage is on the brink of a divorce and a judge is deciding who will take the two children. Can Hélène take them to Germany or will they stay with Vincent?
In a scene where the recordings of young sopranos tend toward an extreme sameness, Austria's Anna Prohaska would deserve kudos simply for the ambition of this release of soldiers' songs. The idea, especially for a female singer, is original, and the music draws on a great variety of sources, from Scottish song to Wolfgang Rihm. Better still is the execution, which shows Prohaska's extreme versatility. She's one of the few non-Anglophone singers to get the difficult combination of vernacular American English and popular-classical crossover referentiality in the three Charles Ives songs included, and she moves effortlessly from the edgy anger of Kurt Weill and Hanns Eisler to the more delicate tragic sense of Roger Quilter.