1990s, Banpo Town, rural China. A woman’s body is found by the river. Ma Zhe, Chief of the Criminal Police, heads up the murder investigation that leads to an obvious arrest. His superiors hurry to congratulate him, but several clues push Ma Zhe to delve deeper into the hidden behaviour of his fellow citizens.
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Robert Armstrong stars as Scoop Adams, an ace newsreel cameraman whose love affair with the bottle all but destroys him professionally. Scoop manages to get his photographer pal Dick (Richard Cromwell) fired as well, but he promises to restore Dick’s reputation, some way or another. He gets his chance while covering a dirigible wreck (some three years before the Hindenburg), saving the day for both Dick and himself.
As a forestry student doing an internship, Anja Grimm ends up in that remote area in the Upper Palatinate Forest, where she went on vacation with her parents as an eight-year-old girl and her father disappeared without a trace. Her job is to take soil samples to create a soil map. At one point in the forest floor she comes across abnormal irregularities. Not long after their arrival, a brutal murder occurs. Anja soon arouses suspicion and hostility not only among the villagers with her suspicion that the perpetrator knows something about her father’s fate and with her questions about the atypical soil composition in the forest clearing. Even the police react extremely reservedly to their investigations. And when it turns out that the young woman can read the signs of the forest like an open book, forces mobilize in the village who are apparently ready for anything because there is a dark secret that needs to be kept.
The wonders of nature are viewed from the backyards of communities across the nation.
The Great Depression hits home for nine year old Kit Kittredge when her dad loses his business and leaves to find work. Oscar nominee Abigail Breslin stars as Kit, leading a splendid cast in the first ever “American Girl” theatrical movie. In order to keep their home, Kit and her mother must take in boarders – paying house – guests who turn out to be full of fascinating stories. When mother’s lockbox containing all their money is stolen, Kit’s new hobo friend Will is the prime suspect. Kit refuses to believe that Will would steal, and her efforts to sniff out the real story get her and friends into big trouble. The police say the robbery was an inside job, committed by someone they know. So if it wasn’t Will, then who did it.
Shiva, a tribal vagabond lives with his mother in hamlet, stays away from the traditional Daivaradhane and Bhoota Kola legacy due to an unforgettable childhood incident. He is happy loafing around with his friends and doing petty jobs for his landlord. When Forest officer Murali enters the scene, it gives a fresh dimension to the man-vs-nature fight. Can Shiva save the forest from Murali? Or is Murali just a dummy bait cast by bigger fish?
Diggers is a coming-of-age story directed by Katherine Dieckmann. It portrays four working-class friends who grow up in The Hamptons, on the South Shore of Long Island, New York, as clam diggers in 1976. Their fathers were clam diggers as well as their grandfathers before them. They must cope with and learn to face the changing times in both their personal lives and their neighborhood.
“Tormenting the Hen” a caustic satire of city mice in the world of country mice, where well-meaning cosmopolites clash with strange townsfolk in country homes, black-box theaters, backyards, and local pubs. Invited by a dippy, curator (Josephine Decker), playwright Claire (Dameka Hayes) is spirited away to an artists’ retreat to present a political one-act about race, resentment, and masculinity. Accompanied by her fiancé, Monica (Carolina Monnerat), begins as a welcome getaway for the harried pair, until an unexpected visit from town enigma Mutty (Matt Shaw) casts a threatening shadow. While Claire plays babysitter to a duo of difficult performers Joel (Brian H. Brooks) and Adam (David Malinsky) Monica attempts to maintain her sanity despite her lover’s decreasing attentions and her neighbor’s proximity. Each woman struggles to preserve her autonomy in an increasingly hostile milieu, building to a soul-shaking climax that offers no easy answers for character and viewer alike.
The mysterious death of an enigmatic young man newly arrived in the suburb of Wetherby releases the long-repressed, dark passions of some of its residents.
The tomboyish, outgoing Julieta is the daughter of a member of the Palmeiras soccer club board. She is constantly frustrated by what she sees as institutional bias against women in soccer. One day while watching her beloved Palmeiras, she is struck by a handsome man, Romeu, that she sees rooting for the Palmeiras’ chief rivals, the Corinthians. After meeting the same man again in the middle of eye exam, Julieta and Romeu quickly become a couple. However, in order to avoid incurring the wrath of her parents, Romeu is forced to pretend to be an adoring Palmeiras fan, an increasingly difficult task for the die-hard Corinthiano.
After dumping a bucket of water on a beautiful young woman from the window of a train car, wealthy Frenchman Mathieu, regales his fellow passengers with the story of the dysfunctional relationship between himself and the young woman in question, a fiery 19-year-old flamenco dancer named Conchita. What follows is a tale of cruelty, depravity and lies — the very building blocks of love.
