Small town in Italy, end of the 19th century. Luciano, a drunk, doesn’t fit in the town. Rebelion against authority and a forbidden love makes him to commit a crime accidentally. To pay for his crime, he is forced into exile on the most remote island in the world, Argentina’s Tierra del Fuego. The hunt for the shipwreck treasure hidden on the island becomes his opportunity for redemption.
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Three narratives (“Cutting Moments,” “Home” and “Prologue”) combine to create a shocking trilogy of modern American life, a portrait drawn with brushstrokes of hidden violence and disturbing cruelty. Directed by Douglas Buck, this unflinching film reveals what lies behind the drawn curtains of so-called “ordinary” households.
Mikio (Masato Sakai) is a married man and works hard for the company where he is employed. Then one day Mikio is diagnosed with depression. Mikio’s wife is Haruko (Aoi Miyazaki). They have been married for 5 years. Haruko draws comics for work, but they do not sell well. She mainly relied on Mikio for support. Meanwhile, Haruko did not notice any changes in her husband. She begins to blame herself for not noticing any signs. Mikio’s depression derived from his work. His company has been pressing him to quit the company. After Mikio quits his job his condition improves, but the dynamics of their relationship changes.
Rumors of a fanatical cult called The Project at Eden’s Gate lure three vloggers to remote Hope County, Montana. Following leads of missing locals and other strange events, the three infiltrate the cult. Shocked by what they uncover, they risk everything to warn the world. Featuring Greg Bryk (A History of Violence) and Kyle Gallner (American Sniper), and inspired by the Ubisoft game Far Cry 5.
A Farewell to Arms is a 1957 American drama film directed by Charles Vidor. The screenplay by Ben Hecht, based in part on a 1930 play by Laurence Stallings, was the second feature film adaptation of Ernest Hemingway’s 1929 semi-autobiographical novel of the same name. It was the last film produced by David O. Selznick.
Battered, broken and bereaved, a private investigator must muscle his way through a tangle of lies to uncover the truth behind a mansion murder.
In the highlands of Scotland in the 1700s, Rob Roy tries to lead his small town to a better future, by borrowing money from the local nobility to buy cattle to herd to market. When the money is stolen, Rob is forced into a Robin Hood lifestyle to defend his family and honour.
When 4 year old Amanda McCready disappears from her home and the police make little headway in solving the case, the girl’s aunt, Beatrice McCready hires two private detectives, Patrick Kenzie and Angie Gennaro. The detectives freely admit that they have little experience with this type of case, but the family wants them for two reasons – they’re not cops and they know the tough neighborhood in which they all live. As the case progresses, Kenzie and Gennaro face drug dealers, gangs and pedophiles. When they are about to solve the case, they are faced with a moral dilemma that tears them apart.
What could be a beautiful fairy tale for some – boy meets girl – could also be the beginning of a horror film for Faruk. The young man is crushed between the dark world of his criminal cousins in Sarajevo and the discovery of love. The film powerfully visualises and contrasts a harshness and tenderness experienced and dreamed.
Based on true events, 16 year-old Jamie falls in with his mother’s new boyfriend and his crowd of self-appointed neighborhood watchmen, a relationship that leads to a spree of torture and murder.
“In re-viewing our Super 8 films, shot between 1972 and 1981, it occurred to me that they comprised not only a family archive but a testimony to the pastimes, lifestyle and aspirations of a social class in the decade after 1968. I wanted to incorporate these silent images into a story which combined the intimate with the social and with history, to convey the taste and colour of those years.” Annie Ernaux
Léa lives in Le Havre, where she attends college whilst taking care of her elderly grandmother. To make ends meet, she works as a waitress in a night club. Her admittance to the Institute of Political Studies in Paris offers her new opportunities, but at a high price. Léa finds work as a striptease artist, so that each evening she can put into practice the theory of economic liberalism which she learns by day…
