Nice to have a laptop full of movies on the plane. I’d loaded up on drowsy motion-sickness pills so instead of falling asleep in the middle of a feature (as I did with The Grand Duke’s Finances) I took a bunch of shorts. The first four are from the 2004 compilation Visions of Europe.

Europe Does Not Exist (Christoffer Boe)
A large businessman (actor from The Celebration) tries to pronounce the word “europe” with the help of a hot woman, I’m not sure why. Boe made the art-drama Reconstruction the year before this.

It’ll Be Fine (Laila Pakalnina)
Each scene a person or a few stand faces the camera for a not-fixed period of time, then finally nod and walk off. Some vaguely unsettling music and sci-fi soud fx. Europe! Director is an award-winning Latvian.

Die alten bösen Lieder (Fatih Akin)
Idel Ãœner sings about about the death of old evil songs in an empty theater while a guy who may be FM Einheit drills something and hammers a giant spring. B/W music video with a color scene. Interesting, but over my head if it had a point.

Cold Wa(te)r (Teresa Villaverde)
Illegal immigrants, I’m guessing – being rounded up on the shore (alive and dead) and processed by the authorities. Wordless, quiet, slow-motion. Not crazy about this one. Villaverde is Portuguese, has a film called Os Mutantes.

Love Exists (1960, Maurice Pialat)
“Deep in my memory, a train passes by just like in the movies. Memories and films are filled up with objects we dread.” You have to read the subtitles loosely – translation seems off. Present-tense empty landscapes accompany wistful music and a wistful narrator speaking of childhood memories from these places. I think it’s really easy to use cinema to express nostalgia. I won’t hold it against Pialat – still looking forward to checking his À nos amours and Naked Childhood. Gives way to distopian dread over the suburbs: “Again and again advertising prevails over reality.”

Charlotte et son Jules (1960, Jean-Luc Godard)
Translated as “Charlotte and her lover” for some reason. Girl (Anne Collette, returning from Charlotte et Véronique but not Charlotte and her steak) walks into Jean-Paul Belmondo’s apartment to jaunty music and he never stops talking for 12 minutes, essentially “I know why you left me, I knew you’d come back, I know why you’re back, I don’t need you, I do need you,” and when she finally gets a chance to speak it’s “I came back to pick up my toothbrush.” Godardian hilarity! Gérard Blain (of Truffaut’s Les Mistons) waits for her in the car. These last two movies were on that DVD “Their First Films,” alongside Resnais’s Le Chant du styrene and Rivette & Chabrol’s Le Coup du Berger