House of Games
A psychiatrist comes to the aid of a compulsive gambler and is led by a smooth-talking grifter into the shadowy but compelling world of stings, scams, and con men.
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Still
"This collapse of separate times into one image creates another push/pull with the experience of depth. The superimpositions seem to lie on top of the image, yet they move into depth, creating what Gehr describes as a 'teasing play with planes.' But the play with space and position here involves more than tension between layers. The variations on light and shadow on the two levels cause the double-exposures to pop in and out of depth. A shadow on the first level can give the superimposition a sudden burst of solidity. Gehr calls our attention to the multiplicity of depth cues that operate in a film in addition to perspective recession. The cue of overlap creates much of the amusement of the film, as the vehicles on one level plow through the phantoms on the other. Gehr was particularly fascinated by the way depth cues provided by color (with warm colors coming forward) interact with the logic of space..." – Tom Gunning
Miracles
Jean and Roger decide to divorce after 10 years, but 12 hours later, they're together again by accident. Their cars collide, swerving to miss Juan, the jaywalking jewel thief who decides to cash in on the crash. The ex-couple are kidnapped, shot at, cast adrift, mistaken for smugglers and even survive a plane crash. But the toughest torture these two endure is being trapped together.
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