Bourges documents the daily routine of a typical pharmacy in Vancouver’s Downtown Eastside, where most clients are on a treatment that requires taking daily doses of methadone witnessed by the pharmacist. The architecture of the space is as much a character as the population which passes through it, with borders of glass between the street and the pharmacy and then between the pharmacist and her clients. The tension of the situation and the struggles on both sides of the glass are punctuated with moments of good humour and camaraderie.
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A lonely 40-ish man, likely to remain a bachelor, has a chance to find the love of his life when he falls for a vivacious young woman.
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An aspiring New York painter returns home to the Kentucky mountains to settle a feud between two rival families.
Set during the peak of a wave of moped crimes sweeping London, 20-year-old Ash, who is trying to earn money to raise his 14-year-old sister and send his mother to rehab, gets caught up with an organized crime ring led by a young and charismatic Albanian immigrant. As the crimes get bigger and the attention becomes addictive, Ash struggles to keep his head above water. Soon, he has to choose between the people he loves, and having his whole life come crashing down around him.
A group of six friends hear of a family of five murdered in a house close to where they will be camping for the night. Deciding to return to investigate would be the worst mistake of their fun filled night.
Separation concerns the inner life of a woman during a period of breakdown – marital, and possibly mental. Her past and (possible?) future are revealed through a fragmented but brilliantly achieved and often humorous narrative, in which dreams and desires are as real as the ‘swinging’ London (complete with Procul Harum music and Mark Boyle light show) of the film’s setting.
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