Nine years on, another Morley child has gone missing on her way home from school. Detective Chief Superintendent Maurice Jobson is forced to remember the very similar disappearance of Clare Kemplay, who was found dead in 1974, and the subsequent imprisonment of local boy Michael Myshkin. Washed-up local solicitor John Piggott becomes convinced of Myshkin’s innocence and begins to fight on his behalf, unwittingly providing a catalyst for Jobson to start to right some wrongs.
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Unexpected tragedy causes a coming-of-age woman to question the meaning of life, until she finds her purpose by helping others deal with the loss of a loved one.
Anna teaches violin at a music school, her husband is an instrument-maker. They have a 10-year-old son, Jonas. At school, Anna champions young Alexander, in whom she alone sees great talent. She devotes much energy and attention preparing him for the next stage exam to prove she was right. Soon Anna devotes more time to him than to Jonas, bringing the two boys into rivalry. At the same time her marriage is collapsing, she withdraws increasingly from her own family and starts an affair with her colleague Christian, who is encouraging her to join a quartet. When she fails during their joint concert, the pressure mounts. With Alexander now her vehicle, she drives him ever onwards and upwards. Come the day of the exam, events take a tragic turn…
Young Treasury Agent Elliot Ness arrives in Chicago and is determined to take down Al Capone, but it’s not going to be easy because Capone has the police in his pocket. Ness meets Jimmy Malone, a veteran patrolman and probably the most honorable one on the force. He asks Malone to help him get Capone, but Malone warns him that if he goes after Capone, he is going to war.
After hiding his loot and getting thrown in jail, Ruby, a brooding outlaw encounters Quentin, a dim-witted and garrulous giant who befriends him. After Quentin botches a solo escape attempt, they make a break together. Unable to shake the clumsy Quentin Ruby is forced to take him along as he pursues his former partners in crime to avenge the death of the woman he loved and get to the money.
Arnost Lustig was one of the world’s most renowned literary authors of our times. Lustig’s novel ‘A girl from Antwerp’ upon which our film Colette is based, draws on the author’s personal Nazi Concentration Camp experience and his own recollection of several escape attempts from the hell of Auschwitz. The story of The Pulitzer Prize nominee Lustig is about the power of love under an extreme life circumstances. It is a story of young lovers and their vigorous determination to escape from a hopeless life condition and theirs courage to face death.
In 1914, with Italy about to enter World War I, a commune of young artists from Northern Europe establishes itself on the rural island of Capri, a safe haven for dissidents and nonconformists from all over the world, like Russian exiles led by Maxim Gorky, preparing to an upcoming revolution. Here, local girl Lucia meets Seybu, the charming leader of the commune, and Carlo, a young doctor.
We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.
This is a story of a great love facing the greatest drama of the history of Russia. Admiral Kolchak is a true war hero and beloved husband and father. One day he meets Anna, the love of his life and the wife of his best friend. The revolution in his heart faces the revolution in his own country His destiny is to become the Supreme Rules of Russia.
Best friends for life, Jane and Fiona have done everything together since kindergarten – Jane following wherever Fiona will lead. Left devastated and adrift following Fiona’s sudden suicide, Jane’s only way to make sense of everything is by helping Fiona’s widow Gemma care for their young son Bailey. Polar-opposites, the two women have nothing in common save for their shared grief and love for Fiona.
