Lilly, orphaned as a child, experiences her parents homeland of England, escaping civil war. She becomes the heart of a disenfranchised community in London, where she attempts to reunite people with their families. But her friend Amira discovers Lilly’s mission isn’t purely altruistic and a passionate lost love affair is revealed between Lilly and Aziz, an idealistic doctor.
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College co-eds struggle with the moral, societal and human aspects of romance.
Living with an intellectual disability, Louis is wrongfully accused of the murder of his sister Delia and sentenced to 5 years in prison. Upon release, he is visited by one of the last men to see her alive who implies there is more to her killing than meets the eye. Armed with this new information, Louis embarks on a personal mission to find who is responsible for Delia’s mysterious death.
The five-year-old Flo cannot understand the condition that her father is in. Her mother explains: “He is with us but also far away at the same time”. This description sparks the child’s creativity, as she begins to imagine her father embarking on a journey far away, into the vastness of space.
Aoi Nishimori’s parents moved to another city for work, but Aoi didn’t want to transfer to a new high school. She stays behind and lives in an apartment by herself. Shusei Kugayama moves in next to Aoi’s apartment. Shusei is a very popular student at their high school. Due to a mistake, Aoi makes the sprinkler go off in his room. Until Shusei’s room is fixed, he stays with Aoi.
Sam is a gifted young dancer whose world spirals after an unexpected, life-changing event. Sam walks away from dancing and ballet, but the art form is in her blood, and she can’t resist the temptation to return. Life eventually leads Sam back to her old dance school – but not as a dancer. An old rival, a long-time crush, and her former dance teacher guide Sam back to what she loves most, but ultimately, it’s her own emotions and fears that she must confront to reignite her deep passion for dance.
In this third installment of the “Olga” series, our heroine adds jewel smuggling to her repertoire of dope pushing and white slavery. As the vicious Olga (Audrey Campbell) expands her criminal empire, she also encounters more resistance as a string of once-trusted partners turn traitor in an effort to steal the successful racket out from under her. The result is exactly what fans of the series expect, a barrage of torture scenes featuring soldering irons, floggings, spankings, and even an electric chair. As with its predecessors, Olga’s House of Shame is a silent black and white film with narration to explain the action, but even with direct commentary it’s difficult to keep track of the characters and Campbell (who is occasionally caught laughing out loud at the absurdity of it all) has all the menace of a kindergarten teacher, even when wielding a machete.
After being struck and killed by lightning, a young man recounts the way he blackmailed his fellow classmates into contributing to his literary magazine.
A struggling filmmaker finds himself involved in a dark world of guns, drugs and prostitution.
A commitment-phobic man reunites with his estranged, ailing father and comes to terms with his own childhood.
Paul Hogan plays Charlie McFarland and Shane Jacobson plays his estranged son, Boots. After a family tragedy Charlie and Boots try and put their differences aside and head off on the road trip of a lifetime – from regional Victoria to the Cape York Peninsula – they overcome many challenges to reach their dream – to fish off the northern most tip of Australia.
