Nothing but silence. Nothing but a revolutionary song. A story in five chapters like the five fingers of a hand.
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Shizuku lives a simple life, dominated by her love for stories and writing. One day she notices that all the library books she has have been previously checked out by the same person: ‘Seiji Amasawa’. Curious as to who he is, Shizuku meets a boy her age whom she finds infuriating, but discovers to her shock that he is her ‘Prince of Books’. As she grows closer to him, she realises that he merely read all those books to bring himself closer to her. The boy Seiji aspires to be a violin maker in Italy, and it is his dreams that make Shizuku realise that she has no clear path for her life. Knowing that her strength lies in writing, she tests her talents by writing a story about Baron, a cat statuette belonging to Seiji’s grandfather
An FBI undercover agent infilitrates the mob and finds himself identifying more with the mafia life at the expense of his regular one.
Grandmother Mi Ja works part-time as a caretaker, and struggles to raise a teen grandson by herself. Despite her tough situation, she speaks softly, dresses fashionably, and approaches the world with child-like curiosity. Enrolling in a poetry class, she endeavors to capture life in verse form, but her simple dream of completing a poem is stalled by the early signs of Alzheimer’s disease and the heavy financial and emotional burden of her grandson’s shocking wrongdoing.
A young man with a vendetta against a business tycoon seduces and kills his eldest daughter and then proceeds to his younger daughter but she begins to suspect her new lover’s ulterior motive.
An interracial couple is attacked and the woman is gang-raped in a random attack. This prompts the woman to commit suicide and the man decides to seek revenge from the inside by joining the gang. However, once inside he learns of the reasons (poverty, social rejection) for their existence and starts developing a kinship until he is asked to kill someone to prove his loyalty.
Director Alfred Hitchcock is revered as one of the greatest creative minds in the history of cinema. Known for his psychological thrillers, Hitchcock’s leading ladies were cool, beautiful and preferably blonde. One such actress was Tippi Hedren, an unknown fashion model given her big break when Hitchcock’s wife saw her on a TV commercial. Brought to Universal Studios, Hedren was shocked when the director, at the peak of his career, quickly cast her to star in his next feature, 1963’s The Birds. Little did Hedren know that as ambitious and terrifying as the production would be to shoot, the most daunting aspect of the film ended up coming from behind the camera.
Tommy Gibbs is a tough kid, raised in the ghetto, who aspires to be a kingpin criminal. As a young boy, his leg is broken by a bad cop on the take, during a payoff gone bad. Nursing his vengeance, he rises to power in Harlem, New York. Angry at the racist society around him, both criminal and straight, he sees the acquisition of power as the solution to his rage.
A troublemaking student at a girl’s school accuses two teachers of being lesbians.