Oleg is a young gifted paramedic. His wife Katya works as a nurse at the hospital emergency department. She loves Oleg, but is fed up with him caring more about patients than her. She tells him she wants a divorce. The new head of Oleg’s EMA department is a cold-hearted manager who’s got new strict rules to implement. Oleg couldn’t care less about the rules – he’s got lives to save; his attitude gets him in trouble with the new boss. The crisis at work coincides with the personal life crisis. Caught up between their patients, alcohol-fueled off-shifts, and an evolving health care system, Oleg and Katya have to find the binding force that will keep them together.
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Matt Webster measures his success by his possessions. Though he appears to have it all, pride of ownership does little to fill the void of a purposeless life. Brokern relationships, isolation and pain for himself and his family, are the result of his pride and selfishness. Through a series of financial and family crises, Matt and his family are stripped of all they own and are humbled enough to learn what success is really all about.
The story bases on four Finnish brothers, nicknamed ‘the Eura Daltons’ who received nation-wide notoriety for tearing gas pumps apart when they needed cash. The cast is an impressive one: the brothers are portrayed by Peter Franzen, Lauri Nurkse, Niko Saarela and Jasper Pääkkönen while their really evil father is played by Vesa-Matti Loiri, one of the grand old men of Finnish cinema.
When relationship advice columnist Amalie Hess receives an unsigned love letter in a Christmas card, she returns to her hometown to solve the mystery of who sent it and maybe find true love.
When twenty-four-year-old Jae is released from prison for killing her mother, she returns to her childhood home in small-town Ridgecrest. The desire to go anywhere but there prompts her to agree to join her brother on a road trip out to Death Valley – which results in getting them hopelessly lost in the most stunning, but unforgiving topographical terrain on the planet.
Based on a true story. Shortly after World War II, Preston Tucker is a dynamic engineer and an enthusiastic showman who envisions the car of the future. Against mighty odds he manages to build a fleet of them – only to have his factory shut down by Detroit’s Big Three automobile manufacturers. They took away his car – but nobody could take away his dream.
Amalie and Mikael lead their street dance team to the finals in France but tough competition and personal distractions threaten to ruin their dreams.
A young girl tries to help her grandfather, who is suffering from Alzheimer’s, navigate his increasing forgetfulness, and ends up going on a remarkable adventure with him.
On the surface, Hunter (Haley Bennett) appears to have it all. A newly pregnant housewife, she seems content to spend her time tending to an immaculate home and doting on her Ken-doll husband, Richie (Austin Stowell). However, as the pressure to meet her controlling in-laws and husband’s rigid expectations mounts, cracks begin to appear in her carefully created facade. Hunter develops a dangerous habit, and a dark secret from her past seeps out in the form of a disorder called pica – a condition that has her compulsively swallowing inedible, and oftentimes life-threatening, objects. A provocative and squirm-inducing psychological thriller, SWALLOW follows one woman’s unraveling as she struggles to reclaim independence in the face of an oppressive system by whatever means possible.
This concert, recorded to celebrate the 25th anniversary of the landmark musical Les Miserables, gathers the casts of the show’s 2010 original production at the Queen’s Theatre, the 1985 original production by the London company, and the 2010 production at the Barbican together for one performance. Together with talents like Michael Ball, Hadley Fraser, and John Owen-Jones, the performers present the play’s musical numbers in a semi-theatrical style, fully costumed and with all the emotion of the musical’s heyday.
Sixteen-year-old Billie’s reluctant path to independence is accelerated when her mother reveals plans for gender transition, and their time together becomes limited to Tuesdays. This emotionally charged story of desire, responsibility, and transformation was filmed over the course of a year—once a week, every week, only on Tuesdays.
