Chile, early 20th century. José Menéndez, a wealthy landowner, hires three horsemen to mark out the perimeter of his extensive property and open a route to the Atlantic Ocean across vast Patagonia.
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In “The Christmas Train,” disillusioned, globetrotting journalist Tom Langdon (Dermot Mulroney) must get from Washington, D.C. to Los Angeles in time for Christmas. Forced to take the intercontinental trip by train, and determined to chronicle his adventure, Tom finds himself westbound with a variety of characters. On the train is renowned movie producer Max (Danny Glover), Max’s script doctor and protégé Eleanor (Kimberly Williams Paisley), and Agnes (Joan Cusack) who occupies the cabin opposite Tom’s and seems to know his business better than he does. While all passengers on the Christmas train appear to be headed for the same destination, Tom has no idea that the rugged locomotives taking him across America will instead detour straight into his heart – into rude awakenings, his wildest hopes and dreams, and toward the opportunity for love Tom thought was lost forever.
An American journalist and his cameraman are caught in the combat zone during the first Russian airstrikes against Georgia. Rescuing Tatia, a young Georgian schoolteacher separated from her family during the attack, the two reporters agree to help reunite her with her family in exchange for serving as their interpreter. As the three attempt to escape to safety, they witness–and document–the devastation from the full-scale crossfire and cold-blooded murder of innocent civilians.
Seven Something is a love story and was shot by three different directors. As such, the film is divided into three parts; the first is named “14,” featuring problems of two teenagers and social networks. The second part is named “21/28” and is about two former actor and actress lovers who work together again after being apart for seven years. The third part is called “42.195” and is about a woman who meets a young man who encourages her to complete a marathon
A descendant of the Maharaja Ranjit Singh attempts to recover the fabled Koh-I-Noor diamond from Britain’s crown jewels when they make a tour stop at a Toronto museum.
In Verona, bad blood between the Montague and Capulet families leads to much bitterness. Despite the hostility, Romeo Montague manages an invitation to a masked ball at the estate of the Capulets and meets Juliet, their daughter. The two are instantly smitten but dismayed to learn that their families are enemies. Romeo and Juliet figure out a way to pursue their romance, but Romeo is banished for his part in the slaying of Juliet’s cousin, Tybalt.
Lonely college student Alex encounters his favorite filmmaker, JP Smith, stalking around his sleepy town in upstate NY. Together they form a precarious relationship, with Alex becoming the star of JP’s latest flick: a lo-fi, vérité depiction of Alex’s life, where the line between reality and fiction slowly becomes obliterated.
On a chance encounter, a disenchanted architect bumps into his long-lost elephant on the streets of Bangkok. Excited, he takes his elephant on a journey across Thailand in search of the farm where they grew up together.
Since they were both five, Ryosuke has been stalked by Momoko – the ugliest girl in the village. Her love for Ryosuke is so boundless that she has her face surgically altered to suit his taste – but still he wants nothing to do with her. Ryosuke goes in for fleeting romance – for example, with the girlfriend of a gangster boss. But when he finds out about their affair, he has Ryosuke’s little finger hacked off. Magically, the finger falls into Momoko’s hands, and she uses it to clone Ryosuke, so she can finally have him (or almost him) for herself. And this is just the first five minutes of Lisa Takeba’s short-but-powerful feature debut. Just like in her previous short films, the director – who cut her teeth in the advertising world and as the writer of a video game – throws a lot of genres and techniques into the mix: from science fiction to gangster films, from hospital eroticism to animation. Hectic and absurd, but with its heart in the right place. © IFFR
Incensed by the tabloid culture which celebrates it, the L.A. Slasher publicly abducts a series of reality TV stars, while the media and general public in turn begin to question if society is better off without them. A biting, social satire about reality TV and the glorification of people who are famous for simply being famous, “L.A. Slasher” explores why it has become acceptable and even admirable for people to become influential and wealthy based on no merit or talent – purely through notoriety achieved through shameful behavior.
