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Zabriskie Point (1970): The "Zabriskie Point" is the point at which everything falls apart. It's also the point at which it's okay to give up. But Howard Rheingold isn't a quitter, and when his house of cards comes tumbling down, he simply picks up the pieces and begins anew. Rheingold is determined to win the gold at the next Pan-Pacific House of Cards championship, and this time he's got a few Aces up his sleeve. |
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Zabriskie Point (1970): A small house in the countryside of Michigan is the scene of this heartwarming tale of overcoming racism. Motorists who happen to be white racists are left stranded in a blizzard. Desperate for help the motorists knock on the only door in the area where they are greeted by a black family. There is much tension at first, but by the end it gives way to bonding as the group is forced to ride out the storm together. Flashbacks from the lives of each character add to the social commentary of the film. |
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Zabriskie Point (1970): An epic portrait of late Sixties America, as seen through the portrayal of two of its children: anthropology student Daria (who's helping a property developer build a village in the Los Angeles desert) and dropout Mark (who's wanted by the authorities for allegedly killing a policeman during a student riot). |
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Zabriskie Point (1970): A coming-of-age story. Benny lives in suburban Oregon but in an age when Vietnam and racial tensions are tearing the country apart he finds it difficult to maintain his innocence. |
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Zabriskie Point (1970): Every time the big magazine journalist asks directions to Zabriskie Point, the locals reply that "It's not polite to point." This invariably cracks up the locals, who must be plied with free drinks to give a straight answer. And since most of them don't actually know where Zabriskie Point is (especially after having been plied with drinks), the journalist has a long evening. Not as long as the audience, however. |
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Zabriskie Point (1970): After a month-long hospital stay, a young woman (Carol Lynley) tries to rebuild her shattered psyche. She faces a metaphysical crisis in looking anew at the monstrosities and horrors which pass for normal life, seeing her husband (Richard Harris) with clear eyes for the first time. The question is, are those masks of dread and emptiness she sees on every face real, or a projection of her own pathology? In Italian. |
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None of the synopses above could possibly be legitimate! |
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I give up! What is the answer? |
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