Deliria-Italiano

Zoltán Verebes goes by the pseudonym Pater Sparrow who was famous for his short films in Hungary and went on to study at the London Film School. This is his first feature (...)

Stanislaw Lems Story ist eigentlich ein Review des fiktiven Buchs „Eine Minute der Menschheit“, das alle Geschehnisse beschreibt, die eben in dieser Minute auf der Erde passieren. Im Film füllt dieses Buch auf mysteriöse Weise einen kompletten Buchladen und ein paar Polizisten der Paranormalen Spezialeinheit finden heraus, was es damit auf sich hat.

A bookshop renowned for its rare works is mysteriously and completely filled with copies of a book entitled 1, which doesn’t appear to have a publisher or author. The strange almanac describes what happens to the whole of humanity in the space of a minute. A police investigation begins and the bookshop staff are placed in solitary confinement by the Bureau for Paranormal Research (RDI Reality Defense Institute). As the investigation progresses, the situation becomes more complex and the book increasingly well known, raising numerous controversies (political, scientific, religious and artistic). Plagued by doubts, the protagonist has to face facts: reality only exists in the imagination of individuals

A bookshop renowned for its rare works is mysteriously and completely filled with copies of a book entitled 1, which doesn't appear to have a publisher or author. The strange almanac describes what happens to the whole of humanity in the space of a minute. A police investigation begins and the bookshop staff are placed in solitary confinement by the Bureau for Paranormal Research (RDI Reality Defense Institute). As the investigation progresses, the situation becomes more complex and the book increasingly well known, raising numerous controversies (political, scientific, religious and artistic). Plagued by doubts, the protagonist has to face facts: reality only exists in the imagination of individuals.


'Enigmatic in form, encyclopedic in scope, and leaving room between its lines for many different readings, Sparrow's truly singular film encapsulates the whole of human experience in eccentric, elliptical cross-section. It is all at once science fiction, political allegory, transcendental mystery and free-form documentary, recalling the early works of Peter Greenaway in its vast referential breadth, its mannered blurring of fact and fiction, and the beauty of its tableau-like images.'