Ben and Katie Jordan are a married couple who go through hard times in fifteen years of marriage.

Lifelong platonic friends Zack and Miri look to solve their respective cash-flow problems by making an adult film together. As the cameras roll, however, the duo begin to sense that they may have more feelings for each other than they previously thought.

Eric, a highly-gifted golfer but radically-undisciplined college undergrad, finds his world drastically altered after losing a golf bet to a pair of sadistic plastic surgeons. Eric’s bad-boy attitude lifestyle comes to a screeching halt as he loses his money, his girlfriend, his dignity and his golf swing. Eric and his best friend Tyler decide to take on the doctors, in a final golf match of “Best-Ball” to get his life back and become the man he should have been all along.

Elliot is going to the island of Eden to live out his submissive fantasies, but inadvertently photographs diamond smugglers at work. Smugglers, and detectives, follow him to the island, where they try to retrieve the film. Elliot begins falling in love with Lisa, the head mistress of the island, and Lisa must evaluate her feelings about Elliot and her own motivations.

Trailer Park Boys: Don’t Legalize It is the third film in the Trailer Park Boys franchise, and a sequel to Trailer Park Boys: Countdown to Liquor Day (2009). In the film, Ricky (Robb Wells), Julian (John Paul Tremblay) and Bubbles (Mike Smith) attempt a series of get-rich-quick schemes after being released from prison, but are again pursued by former Sunnyvale Trailer Park supervisor Jim Lahey (John Dunsworth).

After being dumped and fired on the same day, Marie, a maid, gets a job cleaning up after an overworked businessman and the aggressively messy roommate he’s forgotten about, sending her into a surreal world of candy, insult comics, and pretend marriages.

Breaking up with Mark Darcy leaves Bridget Jones over 40 and single again. Feeling that she has everything under control, Jones decides to focus on her career as a top news producer. Suddenly, her love life comes back from the dead when she meets a dashing and handsome American named Jack. Things couldn’t be better, until Bridget discovers that she is pregnant. Now, the befuddled mom-to-be must figure out if the proud papa is Mark or Jack.

Captures a generational moment – young people on the cusp of truly growing up, tiring of their reflexive cynicism, each in their own ways struggling to connect and define what it means to love and be loved. Six New Yorkers juggle love, friendship, and the keenly challenging specter of adulthood. Sam Wexler is a struggling writer who’s having a particularly bad day. When a young boy gets separated from his family on the subway, Sam makes the questionable decision to bring the child back to his apartment and thus begins a rewarding, yet complicated, friendship. Sam’s life revolves around his friends — Annie, whose self-image keeps her from commitment; Charlie and Mary Catherine, a couple whose possible move to Los Angeles tests their relationship; and Mississippi, a cabaret singer who catches Sam’s eye.

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Immediately following the events of Vol. 1, Jon is on the run with his girlfriend with Harvey in hot pursuit to reclaim his money.

Claire is an MI5 agent who goes undercover as the royal nanny. She must overcome the challenges of her assignment, like resisting the charms of Prince Colin, while keeping the family safe at Christmas.

Deborah makes a living by drawing the skin of her clients. One night, her housemate invites her boyfriend and friend to their house. Sitting in the armchair, they consume the series of the moment, Gain of Clones, until, suddenly, the signal is cut off and the screen is dyed red while subliminal images float. No one remembers what happened the last two minutes. The answer will be in the enigmatic presence of giant cats that will later invade the city. As in El sol (2010), the second feature of the animator Ayar Blasco outlines apocalyptic situations where chaos and paranoia is the best excuse to meet surrealist creatures and scenes. Blasco understands that animation is a language with resources that live action does not possess, and exploits those tools as a child who became an adult just to give himself permission to play forever.