A spiritual journey into the highlands of Harar, immersed in the rituals of khat, a leaf Sufi Muslims chewed for centuries for religious meditations – and Ethiopia’s most lucrative cash crop today. A tapestry of intimate stories offers a window into the dreams of youth under a repressive regime.
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Based on actual events that took place at Gwangju Inhwa School for the hearing-impaired, where young deaf students were the victims of repeated sexual assaults by faculty members over a period of five years in the early 2000s.
An ageing Glaswegian psychoanalyst finds his lust for life renewed following an encounter with the charismatic partner of a young patient.
This musical celebration charts the lives and careers of some of the biggest selling acts in Irish rock, punk and pop from Van Morrison and Thin Lizzy to The Undertones and U2. From the pioneers of the showbands touring in the late 50s through to the modern day, the film examines their lineage and connections and how the hardcore, rocking sound of Belfast merged with the more melodic, folky Dublin tradition to form what we now recognise as Irish rock and pop.
Psychological drama of the compelling relationship between a young French engineer and the girl he takes into his home after his wife has left him with their baby son.
When her father is murdered, a cosmetics heiress becomes the next target of an unknown killer amid the international jet set.
A freewheeling portrait of Ken Kesey and the Merry Prankster’s fabled road trip across America in the legendary Magic Bus. In 1964, Ken Kesey, the famed author of “One Flew Over the Cuckoo’s Nest,” set off on a legendary, LSD-fuelled cross-country road trip to the New York World’s Fair. He was joined by “The Merry Band of Pranksters,” a renegade group of counterculture truth-seekers, including Neal Cassady, the American icon immortalized in Kerouac’s “On the Road,” and the driver and painter of the psychedelic Magic Bus.
Marie and Boris decide to get a divorce after 15 years of marriage. Tensions rise when cash-strapped Boris must continue to live with Marie and the two children while trying to figure out how to divide the assets.
Mustafa is a hard-working and ambitious agricultural merchant who is cold and austere towards his family. One day he has a brain hemorrhage on a business trip and goes into a coma after the operation. Guler is suspicious of her husband having an affair. Veysel, their teenage son, wants to leave the military academy and study business administration. Ali, their 10-year-old son, has to cope both with his bully classmate and the chewing gums he has to sell. Hasan, Mustafa’s younger brother, chose to live a life in solitude after getting a divorce, and has always been an outsider to the family. But now, with his brother in coma, he finds himself involved in family affairs. Hasan has to solve the mystery about Mustafa’s mistress and the money lost during his trip.
Joe Chan (Julian Cheung), an Pay-TV office manager, mourns the death of wife-to-be Winnie Tsang (Loletta Lee), while a spirit causes trouble for a pair of wrongdoers set on taking over the station. A not-so-literate taxi driver Shing Wai-lin (Simon Loui) visits a tarot reader after his girlfriend leaves him. The mystic warns him that he is set to meet a strange woman and he’ll be in certain danger. In a dingy flat, housing nurse Mindy (Fennie Yuen) treats triad member Ton’s (David Wong) latest wounds. Her Aunt Ha (Helen Law Lan), meanwhile, senses a dark force drawn to the flat’s dark hallway.
After a violent bank robbery, the trio of hoods make their way across East L.A. carrying a blood-soaked bag of money. When word gets out, they must fend off gangs and crooked cops alike as they strive to keep the loot and stay alive.
Teenage orphan Jenny Yates becomes starstruck when a revival of an old Victorian melodrama passes through her small New England town, to the disapproval of her stern grandfather, Uriah. Stowing away in the car of Philip Greene, a wealthy young man working with the theater troupe, Jenny talks her way into the play’s lead role. But director Archie Fisher doesn’t tell her that the new version of the play is meant as a spoof.