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The elegant widow Hélène (Edith Scob) lives alone with her faithful housekeeper in the cherished family home – a rambling country property outside of Paris. For her seventieth birthday, all her children and grandchildren come for a brief visit. Emphasizing their perpetual absence, they give her a portable telephone the mechanics of which baffle her. “You must set it up for me, before you go.”Hélène takes aside her eldest, Frédéric (Charles Berling) to explain her wishes for the estate, pointing out the most valuable art objects and emphasizing that the family should not feel tied to the old and costly house. Frédéric doesn’t want to listen; she is too young, he claims. He loves the house and assures her that the family will keep it. Moments later, the families pile into cars and race off. With the new phone still unconnected, Hélène is alone again, smoking in the evening gloom. Six months later, they gather once more for Hélène’s funeral. Single and living in the United States, Adrienne (Juliette Binoche) is sulky and rootless. Jérémie (Jérémie Renier) is entrepreneurial and is planning to live in Asia. Neither want to keep the house, and both could use the money from its sale. Frédéric is shattered by their indifference to the family and its traditions, but he cannot afford to buy them out. His wife sympathizes and waits. He loses the negotiatons. Yet, being the eldest and the only sib in France, he is forced to preside over the sale and dismantling of the property he loves. 

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In the photograph, the camera frames the window of a rundown motel room on a snowy evening. Inside, a young mother in a pale green nightgown sits on the side of a bed gazing sadly at her sleeping baby curled up on the far side of the mattress.  This is one of the hauntingly beautiful images in “Brief Encounters,” a documentary about the photographer Gregory Crewdson and his project “Beneath the Roses.“

The son of a Brooklyn psychoanalyst, Crewdson and his family spent summers at a lakeside cottage near Pittsfield in western Massachusetts.  It is to this area, with its abandoned shops and dilapidated buildings, that Crewdson returns over and over again to search for settings for his intricately composed photographs.  These towns, he says in the film’s narration, “were really backdrops for a more submerged psychological drama,” one that blurs the line between reality and fiction. Crewdson approaches his photographs as if making a film, with a crew of as many as 60 people and a cast composed of the townspeople he encounters in his travels.  But unlike a film, the photographs capture a single moment in time.  For Crewdson, what happens before and after is of no interest to him. Rather, he is concerned with just that one frame, “a perfect moment.”

Crewdson creates his worlds as a way to explore his own anxieties, fears and desires.  The images he constructs are exquisitely detailed and psychologically complex, inviting multiple interpretations by viewers. An engaging narrator, he directly addresses his own fear of failure, how he struggles to overcome it and to continue working despite periods of self-doubt.

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Augustine, a fifteen-year old maid in a wealthy home, collapses with a seizure while she is serving an elegant dinner. When she recovers, she is unable to open one eye. She is transported to Salpetriere hospital in Paris under the care of the famous J. M. Charcot, neurologist and psychiatrist who is fascinated by the condition of hysteria. He uses hypnosis to suggest cures to his patients and to trigger attacks which he demonstrates to his colleagues. Augustine is particularly susceptible to fits under hypnosis and obliges her doctor with lewd, convulsive performances virtually on command.

After one such episode the paralysis moves from her eye to her hand. She says that she wishes to be cured, but life in the asylum is not terrible: she has a warm room and food; she no longer needs to work in a kitchen or serve demanding masters.  The doctor is clearly taken with her as a scientific subject. “Augustine est une patient magnifique,” he assures a colleague. He is personally intrigued by her too.

Finally, one day she announces that she is cured. When Charcot tries to hypnotize her for another demonstration, she does not succumb; however, a look passes between them. Taking pity on her doctor, she stages a seizure that satisfies the audience. Immediately after, she and the doctor have a single passionate encounter against a clinic wall, and then she runs away.

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Young, beautiful Caroline Mathilde (Vikander) writes a letter to her children explaining why they have been separated. A few years earlier in 1766, she was sent from her native England to Denmark to become consort to King Christian VII (Følsgaard).

Her hopes are dashed when she discovers that her regal husband is deeply disturbed and little interested in her. They manage to conceive a baby boy – and all further relations between them discontinue.

Dr. Johann Struensee (Mikkelsen) is a progressive, German physician, interested in helping the poor. His friends wish to curry favour with the monarch and sway politics. They believe that Struensee might be good for the King and good for them. He is recruited to the royal entourage.

The plan works well. Struensee is able to calm the king, who grows fond of and dependent on his physician. Under his influence, the king asserts his own authority and begins making progressive laws – banning torture, improving sanitation, outlawing biased financial practices for artistocrats. These changes displease some of the very people who had brought Struensee to court.

Worse, the doctor understands Caroline Mathilde and her loneliness. He is instrumental in a partial reconciliation between the queen and the king, but inevitably he and she fall in love. Their affair is an open secret at court. When she bears a daughter, the King recognizes the child, but everyone knows that the infant is not his.

Eventually the affair is used to bring down both Struensee and the Queen. She is sent into exile without her children. He is lied to, and brutally decapitated in 1772. Three years later, she writes to her children and dies of fever.

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In 1904, the 19 year-old Russian Jewish Sabina Spielrein (Keira Knightley) is admitted to Burgholzi clinic under the care of Dr. Carl Jung (Michael Fassbender) who is beginning to adopt the talk-therapy methods of psychoanalysis promoted by Sigmund Freud (Viggo Mortensen). 

She is hysterical and difficult to control, but she is also bright and has been studying to become a doctor. Jung slowly breaks through her resistence using dream interpretation and word association; eventually she reveals that her mental distress has its origin in her relationship with her father. He would punish her physically and she found it sexually exciting. 

The married Jung is obsessed with his patient and seduces her. They conduct a heated affair that entails sessions of bondage and beating, that they pursue almost like a scientific experiment.

On this background, Jung is becoming the protégé and anticipated heir of Freud—but they disagree over whether or not psychotherapy can cure. Spielrein recovers and goes on to become a physician and psychiatrist who develops her own methods of therapy. Freud comes to admire her and Jung is torn by jealousy. 

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The Hawaiian lawyer Matt King (George Clooney) has two big dilemmas. His large, extended family is thinking of selling their inherited 25,000 acres to a developer—and he must help the consortium decide what to do for the benefit of all. Worse, his wife Elizabeth is in a coma on life support following a severe injury from water skiing. He is trying to parent their two daughters, aged 10 and 17, but the girls are unruly and sulky. He thinks that they are acting out because of their mother’s absence.

The doctors tell Matt that Elizabeth will never recover. According to her living will, she does not want to be left on a machine; they must pull the plug. Matt confides in the older daughter who then informs him that Elizabeth had been having an affair. Her sullenness is sublimated anger with her mother for—among other things—how Matt had been treated. Other family friends know of the infidelity and identify the lover as Brian Speer (Matthew Lillard) a real estate agent living on Kaua’i.

Amazed by his wife’s secret, Matt overcomes his sense of betrayal and resolves to respect her feelings, find the lover and give him a chance to say goodbye. The little family flies to Kaua’i looking for Brian and to deal with the sale of the family estate.  Matt meets Brian’s beautiful wife Julie– who is sympathetic to his situation, not knowing of the connection with her husband. When Matt confronts Brian, he is surprised that Brian has no interest in saying good-bye to Elizabeth. What, for Elizabeth, had been a life-changing relationship, for Brian, was a fling that “just happened” and which he wants to forget. He is terrified that Julie will discover his infidelity and leave him.

Matt contends that “things do not just happen.” Everything happens for a reason. Wondering what his own role had been in Elizabeth’s reasons for taking part in the affair, Matt goes home for her death. But he also decides not to sell the family estate and keep it as a nature preserve over the opposition of many cousins.  Brian never appears, but Julie has learned of his infidelity and she comes to the hospital out of duty and horror. It is not clear if her marriage will survive.

In the final scene, Matt and his daughters are in a little boat off Waikiki where they spread Elizabeth’s ashes.

 

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This documentary film follows the professional and private lives of the 2004 U.S. Wheelchair Rugby team. Murderball is a highly engaging, informative look at the lives of a group of quadriplegic men who are also elite athletes. The sport of "murderball" combines basketball, hockey, and rugby. It is played in custom-built wheelchairs with angled, shield-like metal side plates that make the chairs look like chariots, encouraging the term "gladiators" that is often applied to the players. Invented in Canada in the 1970s, murderball was renamed "wheelchair rugby" or "quad rugby" to make it less offensive to corporate sponsors, but retains its toughness with any name. The sport is played without helmets, and its players tackle each other through chair-to-chair collisions as they try to move the ball to the end zones.

The documentary begins with the 2002 World Wheelchair Rugby Championships in Sweden, includes team tryouts and competitions with arch-rival Canada, and closes with the Paralympic Games (held two weeks after the traditional Olympic Games end) in Athens, Greece. The film is a fast-paced sports documentary with abundant chair-level footage of action on the court, but also focuses on many aspects of the personal lives of key players, including psychological conflicts and sexuality. While the documentary is focused on the entire team, not individuals, three distinct subplots include the emotional journey of team captain Mark Zupan, including his relationship with the friend whose actions precipitated Zupan's disabling accident over ten years earlier; the passion and resentment of the Canadian team coach Joe Soares, who was cut from the U.S. Team and whose obsession with murderball leaves little space for Soares to appreciate his musically gifted teenage son until his own heart attack; and the experiences of newly disabled athlete Keith Cavill.

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Adam (Joseph Gordon-Levitt) a 27 year-old writer is happy in his work and lives with Rachael, a painter, but he has not been feeling well. He goes for tests. The doctor—without looking him in the eye—bluntly tells him that he has spinal cancer and needs chemotherapy. With the support of his good friend, Kyle (Seth Rogan), Adam begins his treatments. Together they shave his head and he bonds with the much older men being treated at the clinic. Rachael promptly takes up with another man and Adam throws her out. He is assigned a 24 year-old psychotherapist, Katherine  (Anna Kendrick) who is out of her depth in dealing with his condition and his fears, but they have an affinity for each other that will eventually “conquer all.”

Adam has an uneasy relationship with his mother (Anjelica Huston), a domineering personality who is coping with her husband’s slide into dementia.  His illness forces him to see more of his parents and he slowly realizes how much she cares for him and wants to help; however, he avoids her and rarely volunteers any information.

In another encounter with the inept doctor, Adam learns that the chemotherapy hasn’t worked and he is referred for surgery. The woman surgeon’s bedside manner is even worse: incredibly, she meets him for the first time only as he is being wheeled into the operating room. 

But the surgery is a success, and the film closes with Adam and Katherine falling into each others arms -- a disappointingly happy Hollywood ending.

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This documentary is a film biography of American artist, Alice Neel (1900-1984), directed by her grandson, Andrew Neel. The film utilizes interviews with art historians; comments and interviews by Alice Neel herself; comments by her two sons and other family members; interviews with some of those that the artist painted; still photographs and other archival materials; and most spectacularly, displays of many Neel paintings. There are annotations of several important Neel paintings in this database. This film or sections of it would make a good accompaniment to discussions of those works.

Neel was a complex person and the film pays attention to this complexity. She lived what was considered to be a "bohemian" life, not following social conventions of the times and determined to pursue her art. There was early tragedy: marriage to a Cuban artist eventually disintegrated but produced two girl children, one of whom died as a baby and another who was kept in Cuba by the father and his family. These events were catastrophic for Neel and resulted in psychiatric hospitalization. For many years her life was one of poverty. In the 1930s she was funded to paint by the Works Progress Administration and later survived on welfare in Spanish Harlem while raising two sons born "out of wedlock". There she painted neighbors, and others who lived in that community. During the McCarthy era in the 1950s she was under investigation by the FBI for her occasional association with the Communist Party. She struggled to have her work recognized: although her paintings date back to the 1920s, it was not until 1974 that a retrospective exhibit of her art was presented by an important museum, the Whitney Museum of American Art. By that time she was painting portraits of well known individuals like Andy Warhol.

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