Antonio, an unemployed man in the depressed post-WWII economy of Italy, at last finds a good job hanging up posters, the only requirement for which is that he must have his own bicycle. When Antonio’s bicycle is stolen, he and his son are forced to walk the streets of Rome in search of it, or else face ruin.

A successful music producer quits the industry and exiles himself in upstate New York, but the solitude he seeks is shattered when his estranged son and the pop star he’s created come looking for answers.

Tessa is a young, brilliant barrister. From working class origins, she has reached the top of her game. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge.

A mother and daughter who fled violence in El Salvador must find their way back to each other after being separated at the U.S. border and detained in detention centers in different states.

Front of Aragon, 1937. Lluís (Marcel Borràs), a young republican officer destined for a temporarily dormant position, meets an enigmatic widow of whom she falls in love, Carlana (Núria Prims), who manages to fool him to falsify a Document that makes it the lady of the region. The best friend of Lluís, the Soleràs (Oriol Pla), a degraded officer, discovers the fraud and, in exchange for not exposing him, he demands that he move away from the bombings of Barcelona his son and his wife, from whom he is Secretly in love When Trini (Bruna Cusí) arrives at the town, it does not take long to discover the betrayal of Lluís and establishes between them two a “state of war” that will make all moral bases stagger.

A fiercely independent pilot fighting to keep her family business afloat starts to fall for the man sent by corporate to ground her operation forever.

Stuck repeating the same pattern of mistakes again and again, Andrew Egan reluctantly accepts a teaching job to support his floundering, stand-up comedy career. As an increasingly anxious Andrew grows accustomed to the droll institution and its occupants he suspects that one of the students may be his downfall and that the previous teacher may not have left of his own accord. His life slowly unraveling, Andrew’s lessons fall on deaf ears and he soon becomes part of a larger cosmic joke.

After his father’s untimely suicide, Cufe leaves his home in a Native American reservation in search of a more fulfilling life.

A young drifter named Nomi arrives in Las Vegas to become a dancer and soon sets about clawing and pushing her way to become a top showgirl.

Neglected by her husband, Sarah embarks on an impromptu road trip with her young daughter and her best friend, Mindy. Along the way, the dynamic between the two friends intensifies before circumstances force them apart. Years later, Sarah attempts to rebuild their intimate connection in the days before Mindy’s wedding.

In life, there’s silver, and there’s lead, says Rikki Ortega, as he moves to be king of the street in “Ánglio,” L.A.’s east side. Older brothers and a brother-in-law are in his way. While they think they are driving out the Rojas, a local gang that runs the meth trade for bosses in Cabo San Lucas, Rikki is running an elaborate double-cross on his own family. He’s not happy just to run this fratricidal con, he also wants to cash in as much as he can of one hundred kilos of crystal meth that he stole from the Rojas (and the Mexicans), seduce the girlfriend of one of his victims, and stay ahead of a cop who was a childhood friend. Will he end up with the silver?

Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.