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The pop music of the Roma community serves as a way out for some, but mostly as one more means for the mafia pimps to make money off their acts and keep them in slave-like dependency. While researching his subject, Adi meets Alberto, a Roma ex-convict and a bear of a man, who promises Adi to help him. Soon, the unlikely pair begins a playful romance in which Adi feeds Alberto with improbable plans of escaping poverty and Alberto reciprocates with well-concocted phrases of love. Little by little their casual affair grows into love. And the funny and sweet teasing turns into something precarious, since Alberto is both dangerous and fragile and belongs to a world whose codes Adi doesn't understand.",[11],1.321,22,"\u002FsJXn8uthggQHW68pJ3fMJMAU0kG.jpg","2018-02-02",5.795,"\u002Fv8xBVxLWfLyI15CBWGQ864tPngb.jpg","Soldații. Poveste din Ferentari","ro",{"id":280,"adult":6,"title":281,"video":6,"overview":282,"softcore":6,"genre_ids":283,"popularity":284,"vote_count":285,"poster_path":286,"release_date":287,"vote_average":288,"backdrop_path":289,"original_title":281,"original_language":99},38568,"Howl","It's San Francisco in 1957, and an American masterpiece is put on trial. Howl, the film, recounts this dark moment using three interwoven threads: the tumultuous life events that led a young Allen Ginsberg to find his true voice as an artist, society's reaction (the obscenity trial), and mind-expanding animation that echoes the startling originality of the poem itself. All three coalesce in a genre-bending hybrid that brilliantly captures a pivotal moment-the birth of a counterculture.",[11],1.4938,198,"\u002F4gy0rUIaaao1nx6pr1Dj1WpslcO.jpg","2010-08-26",6.449,"\u002FtUAdGt5trb0H3kKCdHWGdLyt3Rt.jpg",15053,301041,"Structured in nine tableaux each a study of a simple action or situation involving a lone, naked figure, the blind Eros, searching for fulfilment, for self. The objects he touches - books, paintings - can be seen as icons of the creative spirit; there is also a motor cycle and film equipment. In succeeding scenes he appears to try on identities offered by institutional doctrines of religion and social traditions of (overt) masculinity. Much of the film was constructed in-camera with a small amount of editing afterwards. 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