The petite waitress Johnny works and lives in a truck-stop, where she's lonely and longs for love. She develops a crush on the garbage truck driver Krassky, although her sleazy boss Boris warns her that he's gay. Maybe because of her boyish looks, Krassky likes her too. Both don't notice the growing jealousy of Krassky's boyfriend Padovan - until an escalation.

Not an adaptation of beat writer William S. Burrough's novel but a mix of biography and an interpretation of his drug- induced writing processes combined with elements of his work in this paranoid fantasy about Bill Lee, a writer who accidentally shoots his wife, whose typewriter transforms into a cockroach and who becomes involved in a mysterious plot in North African port called Interzone. Wonderfully bizarre, not unlike Burrough's books.

The French naval ship, Le Vengeur, based out of Marseille, has just docked in Brest for an extended stay. The ship's captain, Lieutenant Seblon, can see the passion in his men, which can as easily manifest itself in violence as it can in sex. Seblon has in part become an officer to remain at arms length from his men, one of them, Querelle, with who he is secretly in love. Querelle goes to La Feria, a bar and makeshift whorehouse owned and operated by husband and wife Nono and Lysiane, one of the whores. La Feria is infamous and notorious as anyone wanting sex with Lysiane must first roll the dice with Nono, Nono winning meaning that he will get to sodomize the loser instead. At La Feria, Querelle is surprised to see his brother, Robert, who is Lysiane's current on-going sexual partner, and who did not have to go through the roll of the dice with Nono is his special position with Lysiane. That passion in Querelle extends to his brother, the two who share more than just a family resemblance. Outwardly, Querelle goes to La Feria as a place to sell opium. However, the opium may only be a pretense as Querelle is trying to discover who he is as a man. Everyone in this collective is also on a similar sense of discovery, some who may be more aware and open about their own thoughts about the lines between sex, desire and love, those who are not as open possibly feeling shame which leads to ways to deal with that shame. Including those already mentioned, this collective includes a local stone mason named Gilles who purports to desire Paulette, a young man named Roger, Paulette's brother, with who there is unspoken sexual tension with Gilles, and Mario who, at least in appearance, "polices" the activities at La Feria.

"Safe" has been described as a horror movie of the soul, a description that director Todd Haynes relishes. California housewife Carol White seems to have it all in life: a wealthy husband, a beautiful house, servants, beauty, and a lot of friends. The only thing she lacks is a strong personality: Carol seems timid and empty during all of her interactions with the world around her. At the beginning of the film, one would consider her to be more safe in life than just about anyone. That doesn't turn out to be the case. Starting with headaches and leading to a grandmal seizure, Carol becomes more and more sick, claiming that she's become sensitive to the common toxins in today's world: exhaust, fumes, aerosol spray, etc. She pulls back from the sexual advances of her husband and spends her nights alone by the TV or wandering around the outside of her well-protected home like an animal in a cage. Her physician examines her and can find nothing wrong. An allergist finds that she has an allergic reaction to milk but explains that there is no treatment for that sort of allergy. She sees a psychiatrist who does nothing but make her nervous. In the hospital, Carol sees an infomercial for Wrenwood, a new-age retreat for those who are "environmentally ill," and leaves her husband and stepson to try and find salvation at this retreat: headed by a phony, grandstanding, "sensitive" individual named Peter Dunning.

In an apartment on Manhattan a couple of friends from the New York upper-class meet almost every night to talk about social mobility, play bridge and discuss Fourier's socialism; the cynic Nick, the philosophical Charlie, party girl Sally and austenite Audrey. They are joined by Tom. His background is much simpler and he is critical of their way of life. But he finds a soul mate in Audrey, who without his knowledge falls in love with him.

Benny's a hipster, moving in and out of Manhattan's beat scene, aimless, maybe close to trouble. His sister Lelia, who looks less African-American than White, is vulnerable and about to fall in love. Hugh, their older brother, is a struggling singer whose agent, Rupert, may be the only person with faith in his talent. The story moves back and forth, like jazz, among the three of them and what seems at first to be separate lives. Lelia meets Tony, and lets herself hope this is true love. Then he meets Hugh and prejudice gives Tony an excuse to cut and run. Can family and friendship bring solace for her hurt, purpose for Benny, and belief in Hugh? Is life more than shadows?

In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as The Working Class Goes to Heaven. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-something nurse. In the midst of the sexual revolution, Veronika is highly promiscuous, and begins to make advances on Alexandre. During the summer of 1972, Alexandre and Marie are nude in bed in their apartment when Veronika visits. Marie lets her in and Veronika insults both of them, but acknowledges she is not pure herself. The three begin a ménage à trois and sleep in the same bed, with Veronika assuring Alexandre she and Marie both love him, and telling him to be more happy with his situation and life. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. As the three sit together, Veronika attempts to reassure Marie about her looks and body. Tearfully, Veronika speaks about how she believes no women are truly whores, and how love is meaningless unless it produces a child.

Peter Falk is a blue collar man trying to deal with his wife's mental instability. He fights to keep a semblance of normality in the face of her bizarre behavior, but when her actions affect their children, he has her committed.

A film shoot in Peru goes badly wrong when an actor is killed in a stunt, and the unit wrangler, Kansas, decides to give up film-making and stay on in the village, shacking up with local prostitute Maria. But his dreams of an unspoiled existence are interrupted when the local priest asks him to help stop the villagers killing each other by re-enacting scenes from the film for real because they don't understand movie fakery...

Two bawdy, tough looking navy lifers - "Bad-Ass" Buddusky, and "Mule" Mulhall - are commissioned to escort a young pilferer named Meadows to the brig in Portsmouth. Meadows is not much of a thief. Indeed, in his late teens, he is not much of a man at all. His great crime was to try to steal forty dollars from the admiral's wife's pet charity. For this, he's been sentenced to eight years behind bars. At first, Buddusky and Mulhall view the journey as a paid vacation, but their holiday spirits are quickly depressed by the prisoner, who looks prepared to break into tears at any moment. And he has the lowest self-image imaginable. Buddusky gets it into his head to give Meadows a good time and teach him a bit about getting on in the world. Lesson one: Don't take every card life deals you. Next, he teaches Meadows to drink, and, as a coup de grace, finds a nice young whore to instruct him in lovemaking. Mule, who worries aloud about his own position with military authority, seems pleased with Meadows's progress. However, when the trio reach Portsmouth, the game comes abruptly to an end as reality sets in.

Jenny, a deaf runaway who has just arrived in San Francisco's Haight-Ashbury district to find her long-lost brother, a mysterious bearded sculptor known around town as The Seeker. She falls in with a psychedelic band, Mumblin' Jim, whose members include Stoney, Ben, and Elwood. They hide her from the fuzz in their crash pad, a Victorian house crowded with love beads and necking couples. Mumblin' Jim's truth-seeking friend Dave considers the band's pursuit of success "playing games," but he agrees to help Jennie anyway.

1968 counterculture-era feature film directed by Richard Rush

Middle-aged artistes provide the focus of this drama filmed in black and white. The story is set in Paris around the time of the Gulf War. Paul, an actor leading a drab directionless existence, has an affair with Ulrika, a woman half his age. His wife, with whom he constantly argues, is pregnant with their second child. He does not interact much with his teenage son. Much of the film centers around the emptiness of his life.

In Kaliningrad two Lithuanian boys meet two Russian girls. They have difficulties in finding places where they can sleep together. But this is the only problem they do solve. All four justly feel miserable because their lives are meaningless (the recurrent dull and poorly kept house façads could well be taken as a comparative symbol). In addition, everyone is so absorbed by his or her own distress and hardly capable of bothering about the anguish of the others. The three days end with a pervasive lack of contact.

In a Brazilian coastal village where everything seems motionless, Clarice grasps her life in a single day, unlike those she meets and who are living this day like any other. She tries to understand her obscure reality and the destiny of the people around her in a circular time that haunts and disorients.

A priest travels to investigate a miller suspected to be working with the devil.

Oldrich "Fajolo" Fajták (Marián Bielik), a student who directs quasi-existentialist verbal abuse at his girlfriend Bela Blazejová (Jana Beláková), takes off to a formally volunteer summer work camp at a farm where he meets her grandfather.

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