When his hockey career comes to a sudden end, Sam returns to his hometown and tries to escape into an earlier, simpler time in his life.
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In a not too distant future, a totalitarian state run by ‘The Director” (Seagal) controls all aspects of life. All enemies of the state are dealt in the harshest way. Most of them are executed by the secret government’s assassins. The best operative is code-named “Condor” (Messner) – an elite agent and hit man for the government. However, in his latest assignment, “Condor” fails to kill an opposition leader, and finds himself on the run from the very same government agency that he works for. This sets in motion a chain of events with unforseen consequences for all involved.
In 700 Sundays, legendary comedian and actor Billy Crystal tells the stories of his youth, growing up in the jazz world of Manhattan, his teenage years, and finally adulthood. The Tony Award-winning show is a funny and poignant exploration of family and fate, loving and loss.
The Greenhouse is a magic-realist drama that centres on the eldest child of two women, Beth, who discovers a portal into the past on their family property. On the cusp of her widowed mother Ruth’s sixtieth birthday and the return of her dysfunctional siblings Drew, Doonie and Raf, Beth is swept away by visions of their idyllic childhood and re-lives the moments that defined her adolescence. Despite Ruth’s warnings, and as real-world tensions grow between the siblings, Beth becomes dependant on the greenhouse, soon realising it isn’t the paradise she believed it to be.
Early 20th century England: while toasting his daughter Catherine’s engagement, Arthur Winslow learns the royal naval academy expelled his 14-year-old son, Ronnie, for stealing five shillings. Father asks son if it is true; when the lad denies it, Arthur risks fortune, health, domestic peace, and Catherine’s prospects to pursue justice.
May, 1980. Man-seob is a taxi driver in Seoul who lives from hand to mouth, raising his young daughter alone. One day, he hears that there is a foreigner who will pay big money for a drive down to Gwangju city. Not knowing that he’s a German journalist with a hidden agenda, Man-seob takes the job.
Two men meet in the ring for a fight that will change their lives.
The musical drama is a sequel to the 2008 blockbuster ‘Rock On’ that tells the story of four friends and their passion for music. This time around, the film centers around the regional conflict prevailing in the North Eastern states of India.
Nina, an end-of-teenage orphan with mental problems, starts a new job as a garden cleaner when she meets Toni. They fell in love with each other, but soon Toni starts betraying Nina. In the meantime, Francoise is picked up at a psychic department of a Berlin hospital by her husband, Pierre. After seeing Nina, Francoise believes that she has found her kidnapped daughter Marie, but neither Toni nor Pierre believe her. Nina is unsure about what to think…
Alienated and cold, The Mortician (Method Man) processes the corpses with steely disregard. He is lonely and isolated. He is introduced to his new employee, Noah, (EJ Bonilla) by the morgue boss (Edward Furlong). Noah is a volatile youth working as part of his parole.Noah brings the notorious gangster, Carver (Dash Mihok), and his crew to the mortuary door. The Mortician’s attention is pricked by the tattoo of Botticelli’s ‘Birth of Venus’ inked on the body of a murdered woman (Judy Marte), that arrives at the morgue, triggering a series of haunting dreams from his childhood. Discovering a scared child, Kane (Cruz Santiago), fleeing the morgue, he’s forced to act. They become reluctant allies, struggling for redemption as they run. Through his awkward heroism, the Mortician reconnects with his long forgotten past, and finds the answers he’s been searching for. He find redemption and peace.
“In re-viewing our Super 8 films, shot between 1972 and 1981, it occurred to me that they comprised not only a family archive but a testimony to the pastimes, lifestyle and aspirations of a social class in the decade after 1968. I wanted to incorporate these silent images into a story which combined the intimate with the social and with history, to convey the taste and colour of those years.” Annie Ernaux
