The misadventures of two young gay men, trying to find a place to be alone, one night in Manhattan. Gabriel, an aspiring writer of Broadway musicals, meets Mark, a muscled stripper, who picks him up on the subway. They spend the night trying to find somewhere to be alone… forced to contend with Gabriel’s selfish roommate, his irritating best friend, and a vicious, jealous drag queen in a gay dance club. The sun rises on a promising new relationship.
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The Swedish Liberal party leader David Holst is in crisis. Just recently, he was Sweden’s hottest politician. Stylish, funny, popular and the obvious candidate as the country’s next Prime Minister. Now, two years and a disappointing election defeat later, he finds himself in free fall. The voters have deserted him, the party is in uproar and he can hardly manage to get out of bed. It gets no better when he falls head over heels in love with party general secretary Martin, the last person on earth he can fall in love with. A man. A Social Democrat.
If Columbia could make an acceptable movie star out of opera-diva Grace Moore, then RKO Radio could do the same with Lily Pons. At least that was producer Pandro S. Berman’s reasoning when he cast Pons in the 1935 musical romance I Dream too Much. The actress plays Annette, a rural French musical student who marries struggling American composer Jonathan (Henry Fonda). Possessed of a splendid singing voice, our heroine rises to fame on the opera stage, while poor Jonathan continues struggling, supporting himself as a tour guide. Annette eventually saves her marriage by transforming her husband’s “masterpiece,” a rather turgid modernistic opera, into a light-hearted musical comedy. Lucille Ball, who’d later co-star with Henry Fonda in The Big Street and Yours, Mine and Ours, has a funny minor role as a gum-snapping tourist. Though Lily Pons was at least 10 years older than Fonda, they make an attractive and believable screen couple, adding credibility to this somewhat contrived yarn
When Marie’s boyfriend proposes to her in front of his entire family, she doesn’t know what to say and flees to the countryside to think it over alone. But her thoughts accompany her. They sit around her in flesh and blood: Her mother pesters her with baby names, exboyfriends climb down trees and a woman in a sari narrates her life in poems. Her would-be fiancé eventually joins her, clashing his own luggage of thoughts with hers. But what if you show your thoughts to each other? How much honesty can a relationship take? In her first feature, director Zora Rux, an apprentice of Swedish filmmaker Roy Andersson, tells a surrealistic story of the search for one’s true self in poetic tableaus.
Kiroku boards with a Roman Catholic family and falls for the daughter Michiko. He ignores his feelings, joins a gang, gets in fights and, eventually, becomes involved with the radical Kita Ikki group.
Set in what could be the same universe of Fargo and The Big Lebowski, THE TOY GUN is a fun-yet-gritty dark comedy about a meek young man who impulsively robs a bank to prove to his ex-wife that he is courageous and masculine. A police investigation engulfs everyone except our unassuming hero, who is, ironically, completely ignored.
Central Europe, early 16th century: two childhood friends, Martin & Georg, find themselves on rival sides of a religious war with both of them struggling to do the right thing.
Kevin Shepard is a tech-savvy young genius who uses his intelligence to slack off. When greedy video game executive Alan Wolf gets a hold of his ideas for a video game, Kevin and his best friend Becca set off for Seattle to make Wolf’s life miserable through a series of pranks.
A young woman is motivated to take her career to the next level by any means necessary all while jeopardizing her seemingly perfect life.
