Sympathetic look loosely based on the relationship between tobacco heiress, Doris Duke (1912-1993) – think Duke University – and her shy butler, Bernard Lafferty. The icy and mercurial Duke fires her butler for serving a chilled cantaloupe; the agency sends Lafferty, formerly household staff to Liz Taylor and to Peggy Lee. He’s an alcoholic, fresh out of rehab. He gradually becomes Duke’s gay alter ego as she romps through life sleeping with young men, making shrewd decisions quickly, managing her fortune and orchids as Lafferty manages her New Jersey estate. With a wine cellar to die for, Bernard falls off the wagon. Can he pull himself together when Doris needs him?

Learning of his family’s collapse, acolyte Goichi, sent to study silently at the Temple of the Golden Pavilion, must endure acute psychological distress.

Forty-nine days after George’s death his wife, Alicia, calls friends who wanted to read over the letter that he left before he died. It is a very affectionate and moving letter, which addresses each of those present, knowing that his death is near. Little do they know that they are part of a ritual prepared by Alicia, with the connivance of Santiago, the closest friend of George, to bring him back to life – and that ritual, full of ghostly apparitions, traumatic and terrifying, will be gaining further life from each of the guests. The surprising twists in the plot will lead up to the most unexpected of endings.

The film follows a number of people in an apartment building during a night full of dramatic events and entanglements.

An insane independent film director and his renegade group of teenage film makers kidnap an A-list Hollywood actress and force her to star in their underground film.

The five-month-old baby of impoverished tribal woman Jhumpa Mahato is stolen. Two brothers, Gautam and Raman, who witness the kidnapping, try to help her and become embroiled in the complexities of the investigation.

A man awakens in a car wreck at the bottom of a steep cliff. He can’t remember who he is or how he got there, but a report over the radio fills in some of the blanks, as it describes a violent bank robbery and names a perpetrator who happens to be sitting dead in the back seat.

Set at the beginning of the Civil War, Tap Roots is all about a county in Mississippi which chooses to secede from the state rather than enter the conflict. The county is protected from the Confederacy by an abolitionist and a Native American gentleman. The abolitionist’s daughter is courted by a powerful newspaper publisher when her fiance, a confederate officer, elopes with the girl’s sister. The daughter at first resists the publisher’s attentions, but turns to him for aid when her ex-fiance plans to capture the seceding county on behalf of the South.

It all starts at daybreak, three young surfers on the raging seas. A few hours later, on the way home, an accident occurs. Now entirely hooked up to life-support in a hospital in Le Havre, Simon’s existence is little more than an illusion. Meanwhile, in Paris, a woman awaits the organ transplant that will give her a new lease on life.

Three film directors make a documentary about the undead in an invested world, he filmed in a time of real zombies. The crew filmed the backdrop of the zombie apocalypse, the real zombie invasion is underway

Big Mamma’s Boy follows the story of Rocco as he struggles to choose between the love of his life, Katie and his doting, over-protective Italian mother. Fun, heart-wrenching and poignant, this spirited romantic comedy explores Australia’s multicultural nuances with hilarious results and goes to show that being a big mamma’s boy is a lot tougher than it sounds.

In a timeless city, a man with no name returns to the violent, brutal domain of assassins he left ten years before – back when they dubbed him The Mad Monk for his disregard for his own life and his intense devotion to one woman, Porphyria; a beautiful, luminescent woman; the girl he grew up with; the love of his life; the one thing he has ever wanted; the one thing he can never have.