An overprotective mother will do anything to protect her son even if it means taking a life.
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An intimate portrait of a 9 year old sociopath as he discovers his taste for killing.
Katie Johnson, a 9-year-old girl, has spent her entire life traveling across America in an RV with her father. At one of their stops, she finds a picture of herself on a missing child poster and realizes her father may actually be a kidnapper.
A young girl lives in the Outer Hebrides in a small village in the years just before WWI. Isolated and hard by the shore, her life takes a dramatic change when a terrible tragedy befalls her.
This multiple-Oscar-winning film by Roman Polanski is an exquisite, richly layered adaptation of Thomas Hardy’s Tess of the d’Urbervilles. A strong-willed peasant girl (Nastassja Kinski, in a gorgeous breakthrough) is sent by her father to the estate of some local aristocrats to capitalize on a rumor that their families are from the same line. This fateful visit commences an epic narrative of sex, class, betrayal, and revenge, which Polanski unfolds with deliberation and finesse. With its earthy visual textures, achieved by two world-class cinematographers—Geoffrey Unsworth (Cabaret) and Ghislain Cloquet (Au hasard Balthazar)—Tess is a work of great pastoral beauty as well as vivid storytelling.
Forced into early retirement, Felix Greystone falls in love with an augmented reality companion, to the detriment of his relationship with his wife and daughter.
Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.
La Traviata, My Brothers and I tells the story of 14-year-old Nour (Maël Rouin-Berrandou), growing up in a housing project in the South of France, with his older brothers, who take turns caring for their ailing mother, who is in a coma. Nour dreams of becoming the new Luciano Pavarotti, inspired by La Traviata, an opera he knows well because his Italian father wooed his North African mother by singing its arias to her. Between his work in the community and rising tensions at home, Nour dreams of escaping to a faraway place. When he crosses paths with Sarah (Judith Chemla, A Woman’s Life, AF FFF17), an Opera singer teaching summer classes, he finally finds the opportunity to come out of his shell and explore new horizons.
Edith dreams of being a successful actress but just can’t seem to make things happen. When she can’t figure out what she’s doing wrong, she begins to do everything wrong.
Japanese peasants Matashichi and Tahei try and fail to make a profit from a tribal war. They find a man and woman whom they believe are simple tribe members hiding in a fortress. Although the peasants don’t know that Rokurota is a general and Yuki is a princess, the peasants agree to accompany the pair to safety in return for gold. Along the way, the general must prove his expertise in battle while also hiding his identity.
