Clara, a lonely nurse from the outskirts of São Paulo, is hired by mysterious and wealthy Ana as the nanny for her unborn child. The two women develop a strong bond, but a fateful night changes their plans.
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The tyrant Gedren seeks the total power in a world of barbarism. She raids the city Hablac and kills the keeper of a talisman that gives her great power. Red Sonja, sister of the keeper, sets out with her magic sword to overthrow Gedren.
Cute waitress/hooker is romanced and wed to handsome stranger/funeral director. He, as well as most of the town prefer their women dead. She is the obvious candidate for that position, as his two previous wives were in terrible shape even for dead persons. She must be fleet of foot indeed to avoid their fate.
Adolf Hitler wakes up in a vacant lot in Berlin, with no knowledge of anything that happened after 1945. Homeless and destitute. Although everyone recognizes him, nobody believes that he is Hitler; instead, they think he is either a comedian, or a method actor.
Butterfly is a suspense/horror hybrid about NICK COLE, a straight-to-video horror director who is kidnapped by, LANEY, an over zealous fan, determined to impress him with her own film project. The situation goes from bad to worse when Cole realizes that the murders in Laney’s film are real, and that the victims are all people from his own dark past.
A Thanksgiving dinner brings a host of family together in a Harlem apartment, where a 24-year-old schoolteacher named Dorothy Gale (Diana Ross) lives with her Aunt Em (Theresa Merritt) and Uncle Henry (Stanley Greene). Extremely introverted, she has, as Aunt Em teases her, “never been south of 125th Street”, and refuses to move out and on with her life.
Sam, a college student in a small Northwestern town, reluctantly joins his roommates in a contest to see who can hook up with the most gorgeous co-eds by the end of the semester. But when men slowly start disappearing around town, he and his friends learn that when it comes to beautiful women, it’s what’s inside that really matters.
This debut feature from Newfoundland’s G. Patrick Condon (Infanticide, Audition) is an inspired, meta take on the classic “cabin in the woods” horror trope. After squandering the money lent to him by a mysterious cinematic organization, a creatively frustrated writer / director, G. Patrick Condon, played by Stephen Oates (Frontier, Riverhead), has to take matters into his own hands by locking aspiring actress Grace (MJ Kehler) and the rest of the cast of actors in a rented house filled to the brim with security cameras and a script-spitting dot matrix printer. As time moves on, Condon slowly becomes the villain in his own movie by playing off the actor’s need to give the best performances they possibly can, while also satisfying his increasingly sinister demands; even if it kills them. Part Milgram Experiment, part A Cabin in the Woods, G. Patrick Condon’s Incredible Violence will have audiences talking for years to come.
Four kids, Tokyo, Pete, Adam and Esther wake up in their stranded car in an abandoned field only to find that the Sun did not rise. What’s more, they discover that a strange, 30 foot diameter, almost invisible, bionic “aura” is covering their surroundings. It reacts to their touch, and soon mysterious things start to happen. Our heroes find seashells in and around their car, the smell and the sound of the ocean fill the air, and long lost memories start to materialize in front of their very eyes. Rainfall from nowhere, unexplainable noises, mysterious messages and clues hidden all around force them to go along on an investigation that reveals much more than they would have ever hoped for: they unearth long forgotten secrets rooted deep in the very beginning of mankind’s existence. And these secrets have direct consequences not only on their lives; but also on the survival of our planet as we know it.
Widower Cedric Brown hires Nanny McPhee to care for his seven rambunctious children, who have chased away all previous nannies. Taunted by Simon and his siblings, Nanny McPhee uses mystical powers to instill discipline. And when the children’s great-aunt and benefactor, Lady Adelaide Stitch, threatens to separate the kids, the family pulls together under the guidance of Nanny McPhee.
A misogynistic masked killer prepares for the routine slaying of Anna, his 27th victim, in the comfort of his own home. As Anna struggles to break out of the role the killer has chosen for her, the dead women in the walls and floors play a last desperate card.