A tale of horror and fantasy, ripe with suspense, and an urgent metaphor of Guatemalan recent history and its unhealed political wounds.
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Yitzhak runs the turkey farm his father built with his own two hands after they emigrated from Iran to Israel. When his son Moti turns thirteen, Yitzhak teaches him the trade, hoping that he will continue the proud family tradition. But Moti doesn’t like working in the turkey barn; his passion is fixing up junkyard cars and bringing them back to life. Moti’s mother Sarah tries to reconcile between the two, while his grandfather pushes Yitzhak to take a firm hand with his son. Yitzhak takes Moti’s refusal to work in the turkey barn as a personal rejection. Though he loves his son dearly, he makes it his mission to impose the family farm on Moti. The arrival of Darius, the uncle from America, sets off a chain of events that will undermine the familial harmony. Soon enough Yitzhak will learn that his son is just as stubborn as he is. The conflict is inevitable.
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A former police officer gets hired by a gangster to trace missing call girls and their abductor.
Jim and Brad make their annual hunting trip to the desert, but this year everything is different: Their third partner, Paul, has died in an accident and they’ve taken his nephew, Ray, along in his place. When they arrive, though, there’s not a single animal to be found, only a grizzled old-timer who joins them. When they meet two female campers, they all begin to behave aggressively, unable to resist their animal urges. The next morning the women have disappeared, but the strange moods and behaviors persist and change in ominous ways. Something has them in its grip and it has total control over them…
“Tomorrow’s Promise is a film about vacantness. Which physically does ‘begin’, reversed, upside down on the screen […] suddenly another such position is taken (not in reverse), this time by a male figure and soon, in this same section, the girl of the reversed image reappears posed in a different way; a way obsessed by ‘mood’. Then a technical play of in-the-camera-editing occurs, more intense, brighter than in the first, reversed section. There are several inter-cuts which serve, in this and each subsequent section unto the end, as relative links into the final section: which is actually the ‘story’. The story the protagonist and her hero try to tell in their way is apophysis; except that ‘pictures’, clear visions take the place of words. My film could have been edited with precise tensions and a lucid straight narrative, but it was my aim to ‘re-create’ the protagonist of my personal life.” – Edward Owens
In a last-ditch effort to save his career, sports agent JB Bernstein (Jon Hamm) dreams up a wild game plan to find Major League Baseball’s next great pitcher from a pool of cricket players in India. He soon discovers two young men who can throw a fastball but know nothing about the game of baseball. Or America. It’s an incredible and touching journey that will change them all — especially JB, who learns valuable lessons about teamwork, commitment and family.
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