Pat Place

In near-future New York, ten years after the “social-democratic war of liberation,” diverse groups of women organize a feminist uprising as equality remains unfulfilled.

Second feature film by the French-born director is a Bertolucci-style story of a bored, rich woman looking for romance and adventure. She meets an American G.I., dumps him, then falls for a Communist worker.

The Offenders is a raucous punk satire of the teenager-leaves-home genre. As in the detached and aloof manner of Andy Warhol's underground films, it tells an amusingly deadpan story centred on the kidnapping of a young woman named Laura and her abusive, controlling father. An out-of-control gang of punk hoodlums flesh out the cast.

Nares mocks up Ancient Rome by shooting in faux-classical sites including Tribeca's American Thread Building, where a decrepit penthouse loft with a peeling-paint dome serves as an echoey stand-in for the imperial palace. The latter location required ingenuity: Posing as potential renters, Nares and associates asked the manager to show them the apartment, then unlocked the windows on the way out; a few hours later, they broke back into the space, full cast and crew in tow, to shoot the necessary scenes.

How to play a melody? A magic moment, unrepeatable. Life is just a bowl of cherries. Film as art as life as film.

Two women – one passive and resigned, the other aggressive and domineering – interact in various locations in New York city. The film explores the dynamic between them before ending with a showdown at the roller-coaster on Coney Island.

The almost lyrical Letters to Dad, is a meditation on authority that superimposes the spectre of a recent event over the relatively fresh faces of the parapunk art world; the film takes on a musical form - like a 20th-century ballad composed of subliminal behavior cues, advertising testimonials, and the text of the National Enquirer