Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
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When Chihaya Ayase was in the 6th grade of elementary school, she met Arata Wataya. Arata Wataya transferred from Fukui Prefecture. Taichi Mashima was Chihaya Ayase’s friend since they were little. Arata got close to Chihaya and Taichi from the card game karuta. Four years later, Chihaya is a high school student. Chihaya learns that Arata, who went back to Fukui Prefecture, doesn’t play karuta anymore. Believing they will meet Arata again, Chihaya and Taichi starts a karuta club at their high school.
In 1983, Oliver Nicholas, at thirteen, is well-poised to enter the precocious teenage world of first-sex, vodka and possible-love in New York City when he is traumatized by the stroke of his housekeeper (and only true maternal figure), a sixty-five-year-old Chilean woman named Aida. What was supposed to be an exhilarating and somewhat fearful rite of passage – diving into the exciting, fast-paced world of first experiences – quickly becomes skewed by an incomprehensible depression, and a house of interior horrors. Surrounded by women – his untraditional, Spanish, photographer mother (more interested in the role of confidante than mother) his sister, a comedic, door-slamming tormentor, marked by her parent’s divorce; and Aida, his silver-haired emotional focal point on the verge of death in Lenox Hill Hospital – Oliver struggles to maintain his role as “man of the house” and his sanity.
After getting dumped by his girlfriend Tiffani (Rebekah Kochan), Caleb (Scott Lunsford) commiserates with his roommate Kyle (Jim Verraros), who notes that while he has trouble getting the men he wants he could get any woman because he’s gay.
A quiet, stoic man, lives a monk-like existence in self-imposed exile. When his estranged son is killed in a drug deal gone bad, he is left to look after a granddaughter he never knew existed, and he is forced back into a life he tried to put behind him.
When Susan, a film producer from NYC, goes to Jamaica to shoot a shampoo commercial, she finds herself, through a series of unforeseen circumstances, drifting further and further away from the world she knows and into the life of the island, a strange alternative reality that turns many of her previously held assumptions upside down.
Thomas, a Danish gay man, is unable to adopt in his home country. He visits a friend in Brazil to explore the possibility of bringing home a child. Eventually he meets Maria, a poor woman who is willing to give away the child she is carrying in exchange for money. As he waits for the child, Thomas takes care of Maria, and their relationship develops in a way he did not expect
Following the death of her parents, a Girl returns home to confront the monsters of her past.
Alienated and cold, The Mortician (Method Man) processes the corpses with steely disregard. He is lonely and isolated. He is introduced to his new employee, Noah, (EJ Bonilla) by the morgue boss (Edward Furlong). Noah is a volatile youth working as part of his parole.Noah brings the notorious gangster, Carver (Dash Mihok), and his crew to the mortuary door. The Mortician’s attention is pricked by the tattoo of Botticelli’s ‘Birth of Venus’ inked on the body of a murdered woman (Judy Marte), that arrives at the morgue, triggering a series of haunting dreams from his childhood. Discovering a scared child, Kane (Cruz Santiago), fleeing the morgue, he’s forced to act. They become reluctant allies, struggling for redemption as they run. Through his awkward heroism, the Mortician reconnects with his long forgotten past, and finds the answers he’s been searching for. He find redemption and peace.
When the Soviet Army marched into Romania in 1944, a part of the Romanian population went “into the mountains” – a diverse assortment of nationalists and fascists, liberals, apolitical farmers and members of the middle-class, who were affected by the Communists’ expropriations. Over a thousand armed resistance groups took refuge in the inaccessible forests of the Carpathian Mountains where they waited in vain for the support of the Western Allies. One of them was led by Ion Gavrilă-Ogoranu, who managed to remain undetected until 1976 when he was arrested. This film depicts the daily existence of this group. It tells the story of a struggle that became an end in itself, as the enemy was constantly in pursuit and arrest meant torture and often liquidation. Hungry and emotionally withdrawn, the group of young men got entangled in a partisan war that could not be won, lost in the landscape of the South Carpathians, accompanied by a vigilant secret police, the Securitate.
