While grappling with early symptoms of dementia, Shailaja finds herself at the cusp of her past, present, and future. She decides to go on a trip to revisit her childhood before her memories ebb away. She embarks on a confrontational journey that makes her deal with questions related to a traumatic event in her childhood, the mundanity of her marriage, and the complexity of her future as she travels through the coastline of Konkan with her husband and childhood love.
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Brian Cox stars as Jacques, the curmudgeonly owner of a gritty New York dive bar that serves as home to a motley assortment of professional drinkers. Jacques is determinedly drinking and smoking himself to death when he meets Lucas (Dano), a homeless young man who has already given up on life. Determined to keep his legacy alive, Jacques deems Lucas is a fitting heir and takes him under his wing, schooling him in the male-centric laws of his alcoholic clubhouse: no new customers, no fraternizing with customers and, absolutely no women. Lucas is a quick study, but their friendship is put to the test when the distraught and beautiful April (Isild Le Besco) shows up at the bar seeking shelter, and Lucas insists they help her out.
Peter and Chloe, a young married couple from New York, decide on impulse to take a belated honeymoon on-board a research vessel en route to the icy wastes of Antarctica. Not long into the journey, Chloe begins to feel neglected and betrayed by Peter, who is focused on gathering information for an article he plans to publish on their return about the work of one of their fellow passengers, the whale biologist Roger Payne. After an unforgivable betrayal of trust by Peter, Chloe turns their fledgling marriage upside down by moving into her own room and staking out her independence onboard the ship. Drawing attention to the poles within each of us, the impressionistic story oscillates between the super-confined interiors of the ship and the vast open spaces of Antarctica. In the end, it’s not until Chloe and Peter are lost – perhaps literally, perhaps metaphorically – in the Antarctic ice that they discover how essential one is to the other.
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
Sit Ho Ching used to be an everyday white-collar worker who had no ambition and no plans for his future. Everything went smoothly until one day, when his boss set him up and his girlfriend cheated on him, he suddenly became a jobless single man, which made him rethink his past life of duties and routines. From then on, he decides to pursue wealth and fame by all means.
On a freezing evening in December 1945, five military veterans gather together in the ornate parlour of a Brooklyn brownstone. Best friends since childhood, they have reunited to support their troubled host – but when his invitation for cocktails turns into an impromptu séance, the metaphoric ghosts of their past become all-too-literal.
Ninako Kinoshita has never been in love until an encounter with the school’s most popular boy, Ren Ichinose, leads the two to befriending each other. Ren’s patient and kind personality is a far cry from his unapproachable idol status at school, and soon Ninako falls in love with him. However, she must cope with the fact that he already has a long-time girlfriend.
In 1950s Alabama, the owner of the Honeydripper juke joint finds his business dropping off and against his better judgment, hires a young electric guitarist in a last ditch effort to draw crowds during harvest time.
Léa lives in Le Havre, where she attends college whilst taking care of her elderly grandmother. To make ends meet, she works as a waitress in a night club. Her admittance to the Institute of Political Studies in Paris offers her new opportunities, but at a high price. Léa finds work as a striptease artist, so that each evening she can put into practice the theory of economic liberalism which she learns by day…
