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Two brothers, who meet once a year at a cabin in Big Bear to hunt white-tailed deer for a week, uncover hidden family secrets and lies when their stepbrother drops by for an evening, changing their lives forever.
In a remote corner of England’s Peak District, a mysterious skull is unearthed. But even weirder is that Lady Sylvia steals the skull for use in worshiping – very erotically – her pagan god, The White Worm, who hungers for the taste of virginal flesh.
From the director of Koyaanisqatsi, an astonishing film that documents the drama of how we both live and witness what we experience. Shot in rich black and white Godfrey Reggio’s latest film finds the full spectrum of emotion in human faces, gorgeous landscapes and even the behaviour of an especially expressive gorilla.
Yuli is the nickname given to Carlos Acosta by his father, Pedro, who considers him the son of Ogun, an African god and a fighter. As a child Yuli avoids discipline and education, learning from the streets of an impoverished and abandoned Havana. His father, however, has other ideas, and knowing that his son has a natural talent for dance, sends him to the National Ballet School of Cuba. Despite his repeated escapes and initial poor behaviour, the boy is inevitably drawn to the world of dance, and begins to shape his legendary career from a young age, becoming the first black dancer to be cast in some of the most prestigious ballet roles, originally written for white dancers, in companies such as the Houston Ballet or the Royal Ballet in London.
Inside a darkened house looms a column of TVs littered with VHS tapes, a pagan shrine to forgotten analog gods. The screens crackle and pop endlessly with monochrome vistas of static white noise permeating the brain and fogging concentration. But you must fight the urge to relax: this is no mere movie night. Those obsolete spools contain more than just magnetic tape. They are imprinted with the very soul of evil.
The youngsters Matahi and Reri are in love with each other. The old warrior Hitu announces that Reri is to be the new chosen virgin for the gods. This means she must stay untouched, otherwise she and her lover will be killed. But Matahi abducts and escapes with her to an island ruled by the white man, where their gods would be harmless and powerless. Tabu is the last film from director F.W. Murnau; he died before the film’s premiere in a car accident.
ROAD 2: THE SEA OF GLASS AND FIRE picks up where the first film in the series ends. After the rapture has taken place, JOSH MCMANUS (David A. R. White) is left behind and goes on a journey to find out what has happened and attempts to travel home to find his family. Before he can go anywhere, he is confronted again by the biker gang that harassed him previously and he joins forces with a young girl whose family has been taken up into the sky by God along with other believers. Chasing Josh at every turn is the brutal outlaw HAWG (Brian Bosworth) and his rolling gang of killers. On the day after the Biblical rapture, law and order have broken down – the highways have become a no-mans-land of bandits and looters. Josh’s world has been shaken to the core, and he must make a choice, embrace his past as a man of violence, or learn a new path and become a man of faith. Which will he choose?
A woman (Lynn Whitfield) dying of kidney disease learns that God works in mysterious ways after convincing her son (Michael Jai White) to help a repentant ex-con (Byron Minns) whose unexpected presence prompts a startling deathbed confession.
