Todos los episodios

ON TOP - Iceland, a lighthouse, a cold winter evening. Her thoughts drift back to that summer ... to bathing in the hot springs ... to when they first met ... and embraced. DOWN UNDER - Australia, the desert, a blistering heat wave. His pickup stops at an icehouse ... he lays the blocks neatly on the buckboard ... and drives off haunted by a aching memory. Without dialogue or comment, save for verses from a sonnet by John Keats, Fridrik Thor Fridriksson links the thoughts, the emotions, the sensual longing of young lovers at opposite ends of the world. A tone poem, a collage of sight and sound.

An acknowledged master of the short sans dialogue, Jos Stelling won a bundle of awards for THE WAITING ROOM at festivals in Holland, Russia, and Switzerland. And if you thought that richly inventive spoof of the leering macho in God’s Little Acre, the crowded waiting room of your local railway station, was one of the luniest Erotic Tales ever made, then buckle your seat belt for a ride down Life‘s Great Battlefield: the expressway during rush hour! Take the boredom of the slow lane, add the spice of one-upmanship, top it off with a delightful girl-boy butting match, and what’s missing? A layover at the next gas station.

Manhattan- as it is every day of the week, year in, year out. Life is pretty routine for Bob, about to turn 70, yet aching for one last fling. Maybe his shrink is right: he should place an ad in the paper and just go out and look for someone. Someone like Angela. Because: This is New York.... Anything can happen... The sky's the limit...

Los Angeles, 2000. Megan David likes to keep track of her life with a camrecorder. It’s her video-diary, her art project for the Biennale. It depicts who she is, where she’s going, how she’s going “to pop her cherry“ – as she informs her girlfriend. And hip video artist that she is, Megan has even picked out the right partner through the Internet - a theology major named Luke - for the summer of her deflowering at the Garden of Eden. But when the love-birds arrive on the motel, the concierge hands them the key to their room on a condition - they are not to eat the apple ...

Peter has a dream job. He’s a popular magician in a posh Prague nightclub, whose act draws more applause than the strippers. He’s got an eye-catching assistant who is ready and willing to cuddle his frayed nerves whenever necessary. But he’s also got Sylvia on his neck: a pert, scatterbrained sister who forgets that a toss in the hay may just be worth a wedding ring. Things take a turn for the better – or worse? – when he discovers he possesses extra - let’s say, supernatural – powers that enable him to see into the future, hear music by rubbing his finger over a CD, and God knows what. The problem? Peter can’t control anything any more like he used to – neither his magic act, nor his love life, nor his sister’s latest erotic fantasy.

"Verkehrsinsel" - as in "Traffic Island" - as in "Middle of the Road" - as in "Why Don't We Do It in the Road". Anyway, you get the idea. Eoin Moore's third film - after his "plus minus null", an award-winning debut feature produced at the Berlin Film Academy, followed by the critically acclaimed "Conamara", shot on the west coast of Ireland - is set smack in the middle of the road on Potsdamer Platz, Berlin's heaviest tourist attraction and as close to Times Square as Germany will ever get. How they manage to "do it" there is Zarah's idea, a postmodern creative artist, who likes doing it with Anton in the most quaint and daring of public places - right where and when the traffic is the heaviest. This time, to heighten the fun, Zarah hits upon a special object of desire . . .

Veteran film director Matty Bonkers (Bob Rafelson), a Hollywood legend, arrives in Berlin for an honorary retrospective tribute. While introducing his film MOCKERY, he receives a phone call from his producer lying in intensive care at a hospital. Blau (Trevor Griffiths) needs a favor for old times' sake. Could Matty finish a porn movie before his legs get broken by Tokyo Tony? Matty reluctantly agrees. On the set he meets movie star and ex-cello-player Inga (Fabienne Babe) - and the experience is bizarre spirited uplifting a comédie humaine. The sequel to Rafelson's Wet, a classic in the Erotic Tales series, PORN.com features Bob in his first major acting role.

Ernest Hemingway wrote his Parisian stories on the table of a sidwalk café. Niko prefers to pen his Berlin tales on the counter of a funky bar behind the shark tank. What better place for a writer to pick up a girl? Along comes Sonja, who wants to know how the horny tale he’s now working on will end. So she invites Niko to finish his erotic tale over a drink at her apartment! There’s only one catch: Martin, her ex-husband, still hasn’t moved out of the place. So what, says Sonja - we’ll just change the ending of the story … to a ménage a trois. AN EROTIC TALE by Georgian director Dito Tsintsadze (LOST KILLERS, Un Certain Regard, Cannes 2000).

The Californian desert, somewhere between Death Valley and Los Angeles. She - pert, forward, a ball of fire - has just thrown her mobile away after an angry tete-a-tete with her (ex-) boyfriend. He - rugged, handsome, the independent outdoor type - is hitching a ride back to LA and knows a good bet when he sees one. A road movie with ploys and fantasies, arm-wrestling and one-upmanship, Justin Stauber’s “Did You Ever Have Sex Like This?” is a throwback to the Pat & Mike, Tracy & Hepburn screwball comedies

A rainy night, a car breaks down, an old house in the middle of nowhere with a light burning in the window. Soaking wet, Markus knocks on the door - and interrupts Renee in the middle of her pottery. She’s suspicious of the young stranger, but interested. An Adonis is missing from her artistic collection of dildos. It’s only a matter of warming to the occasion, and she’s in the flush of life. So she reaches for Apollinaire on the book shelf. . .and a jar of honey.

Often cited for his quaint, ironic, humorous, close-to-the-skin story-telling talents - "the Woody Allen of the American Independents," said one critic - Amos Kollek is an actor-writer-screenwriter-director all rolled into one. He knows Manhattan like the back of his hand. His films are filled with a bevy of familiar Village characters: bar-hoppers and park-benchers, retirees and wanabees, the lonely and the beautiful. In ANGELA, his first Erotic Tale, Amos Kollek told a delightfully funny fairy tale about an ordinary guy aching for one last fling at the tender age of 70. In MUSIC he extends the metaphor to embrace a city that never sleeps - as though Manhattan at night is the very essence of the elusive, vulnerable woman. Spiced with surreal, Kafkaesque twists, MUSIC is about a man who loves music and is fascinated by the fair sex. But he is not quite sure why and how he has ended up in this strange hotel room ...

After winning top awards in Montreux, Utrecht, and St. Petersburg for THE WAITING ROOM, followed by the Grand Prix at the Mediawave festival in Györ (Hungary) for THE GAS STATION, Jos Stelling completed his Erotic Tales trilogy with THE GALLERY. Stylistically they're all connected: each is narrated visually without dialogue, each makes merry fun of an embarrassing erotic fantasy in a public place, and each features the same likeable fall-guy - Belgian actor Gene Bervoets - as the hero always ready and willing to strut his manhood like a peacock in heat. In THE GALLERY Gene finds himself the sensual object of a beautiful woman's desire. So when, suddenly and unexpectedly, she begins to strip for his pleasure ... well, one good turn deserves another ...