Inmates at a prison in Rome rehearse for a performance of Shakespeare’s Julius Caesar.
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Beautiful, wild, funny, and lost, Katie Kampenfelt takes a year off before college to find herself, all the while chronicling her adventures in an anonymous blog into which she pours her innermost secrets. Eventually, Katie’s fearless narrative begins to crack, and dark pieces of her past emerge.
Fritz Haarmann, who has killed at least 27 boys, is questioned by a psychology professor in order to find out whether he is sane and can be held responsible for his crimes. During this interrogation Haarmann reveals his motives and his killing methods.
Set at the turn of the century, the story concerns a Polish poet living in Cracow who has decided to marry a peasant girl. The wedding is attended by a heterogenous group of people from all strata of Polish society, who dance, get drunk and lament Poland’s 100-year-long division under Russia, Prussia, and Austria. The bridegroom, a painter friend, and a journalist each in turn is confronted with spectres of Polish past. In the end a call to arms is called but turns out to be a hoax.
After her daughter is abducted in Russia, an NYPD detective goes out of her way to find and save her.
Arthur Milo, an IRS official with access to detailed personal and financial data, chooses his kidnap victims from his files. Pete Honeycutt is in charge of the case and Milo taunts him with personal phone calls, eventually threatening his family.
The Sea Inside is about Spaniard Ramón Sampedro, who fought a 30-year campaign to win the right to end his life with dignity. It is the story of Ramón’s relationships with two women: Julia a lawyer who supports his cause, and Rosa, a local woman who wants to convince him that life is worth living.
An enforcer for the mob enacts revenge on those who wronged her.
Through the experiences of two women in Paris and London, Ghost Dance offers an analysis of the complexity of our conceptions of ghosts, memory and the past. The film focuses on the French philosopher Jacques Derrida, who observes, ‘I think cinema, when it’s not boring, is the art of letting ghosts come back.’ He also says that ‘memory is the past that has never had the form of the present.’