On a chance encounter, a disenchanted architect bumps into his long-lost elephant on the streets of Bangkok. Excited, he takes his elephant on a journey across Thailand in search of the farm where they grew up together.

Comedy sequel to “East is East”. Manchester, North of England, 1975. The now much diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, the runt of the litter, is deep in pubescent crisis under heavy assault both from his father’s tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. So, in a last, desperate attempt to ‘sort him out’, his father decides to pack him off to Mrs Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 35 years earlier. It is not long before Ella Khan (Mrs Khan No2) with a small entourage from Salford, England, swiftly follows to sort out the mess, past and present.

An agoraphobic hip-hop prodigy and a disgraced former music manager cross paths in Chicago’s South Side and help each other face demons of their pasts.

Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ’s image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive “civilizing” brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.

Cock Robin is the swaggering ballyhoo man of a Hungarian sideshow known as the Palace of Illusions. The highlight of the show is a reenactment of Salome’s dance of the seven veils, replete with the beheading of Jokanaan. The performer portraying Salome is in love with Cock Robin. Jealous, sinister The Greek is determined to eliminate that competition.

It is New Year’s weekend and the friends of Peter (Fry) gather at his newly inherited country house. Ten years ago, they all acted together in a Cambridge University student comedy troupe, but it’s less clear how much they have in common now.Peter’s friends are Andrew (Branagh), now a writer in Hollywood; married jingle writers Roger (Laurie) and Mary (Staunton); glamorous costume designer Sarah (Emmanuel); and eccentric Maggie (Thompson), who works in publishing. Cast in sharp relief to the university chums are Carol (Rudner), the American TV star wife of Andrew; and loutish Brian (Slattery), Sarah’s very recently acquired lover. Law plays Peter’s disapproving housekeeper, Vera; and Lowe, her son Paul. Briers appears in a cameo role as Peter’s father.

After his release from prison, an ex-soldier embarks on a journey to reunite with his family.

Based on the autobiographical novel, the tempestuous 6-year relationship between Liberace and his (much younger) lover, Scott Thorson, is recounted.

Shedding some light on legendary bowling displayed by Shane Warne, that changed Cricket drastically.

A massive 5 1/2 hour biopic of Napoleon, tracing his career from his schooldays (where a snowball fight is staged like a military campaign), his flight from Corsica, through the French Revolution (where a real storm is intercut with a political storm) and the Terror, culminating in his triumphant invasion of Italy in 1797 (the film stops there because it was intended to be part one of six, but director Abel Gance never raised the money to make the other five). The film’s legendary reputation is due to the astonishing range of techniques that Gance uses to tell his story, culminating in the final twenty-minute triptych sequence, which alternates widescreen panoramas with complex multiple- image montages projected simultaneously on three screens.

An adaptation of Anton Chekhov’s classic play about human frailty, in which secret loves and long-held resentments threaten to tear a family apart. The film is a recorded performance of an award-winning production of Anton Chekhov’s classic play at the Harold Pinter theatre in London, made shortly after the show was shut down by the COVID-19 pandemic.

Gajirou Honda is a self-centered man who only cares about money and women. When he’s involved in a car accident, he encounters the ghosts of the deceased occupants of the other car, including the driver and three pole dancers. The four ghosts promise him a large sum of money in exchange for his help fulfilling their last wishes, thus allowing their spirits to pass over to the afterlife.