In a futuristic world, the “Nanorace,” people whose genes contain nanomachines that grant them special abilities, are controlled and suffer prejudice from the “Purerace” of normal human beings. Beck, a legendary hunter with the power of “Red Ash,” aims to undergo the surgical procedure to become Purerace. Alongside the large yet timid mechanic Tyger, they use their parallel machine to fly to the old world, doing dangerous jobs. One day, they suddenly run into Call, a girl pursued by the duo of Safari and Stripe. Call, Beck, and Tyger together travel to the clockwork world. But Safari, Stripe, and their leader Deny, stubbornly pursue Call, and are finally in a position to make their attack on Beck and his friends.

Joe just told his boyfriend, George, that he is a serial killer. George thinks that his boyfriend, Joe, is hilarious… and he just saw Patricia Arquette at Target!!! In the horror/comedy hybrid, ‘You’re Killing Me’, we take a look at the life and death consequences of dating in the age of incessant chatter. Joe and George meet just as Joe is coming out to himself as someone who loves to kill. George, on the other hand, can’t decide which wig to wear for his next YouTube video. As George’s friends start disappearing, one by one, he must face the undeniable fact that Gretchen might not be coming back with crushed ice for his party #YouDontNeedIceForChardonnay.

Air Force Major Lloyd Gruver (Marlon Brando) is reassigned to a Japanese air base, and is confronted with US racial prejudice against the Japanese people. The issue is compounded because a number of the soldiers become romantically involved with Japanese women, in defiance of US military policy. Ordinarily an officer who is by-the-book, Gruver must take a position when a buddy of his, an enlisted man Joe Kelly (Red Buttons) falls in love with a Japanese woman Katsumi (Miyoshi Umeki) and marries her. Gruver risks his position by serving as best man at the wedding ceremony.

Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.

Four very different people live in the same building but avoid each other because of differences in how they live their lives, what they believe in, and where they come from. They would probably never exchange a word, but misfortune pushes them towards each other. Their lives entangle in ways that profoundly challenge deep-held beliefs and prejudices surrounding material status, sexual orientation, nationality and religion. Slowly, and even painfully, they begin to open up to each other and recognize the essential humanity each of them possesses.

Four desperate teenagers. A night of sexy mayhem. The big city. Or so the plan goes, until a series of misadventures later, Babai, Pele, Ria and Payal end up in a locked shopping mall in the dead of the night. Alone at last… until an old couple appears out of nowhere with a piece of folded leather and a glass container with two dice made of bone. A game. Simple, but deadly. They call it Ludo. A game defiled by a young couple centuries ago. An unbreakable curse, a living board, eons of bloodbath spanning the subcontinent. A game that has reached this city. Not just monsters, but prisoners of fate. Immortal lovers existing under a curse that will not die. They live within the game. Blood must spill. Bone must shatter. Beware the rattle of the Ludo dice.

Johnny Cash: American Rebel is built around 12 essential Johnny Cash tracks spanning four decades that each deliver the passion, musicality and messages against war, injustice, racism and prejudice, including “Folsom Prison Blues,” “Jackson,” “San Quentin,” “Man in Black,” “Sunday Morning Coming Down,” “Ring of Fire” and “Hurt.” Each song illustrates a chapter in his life, as well the story of an ever-changing America from the 1950s to modern day, as told through interviews, archival concert footage, photographs and personal artifacts from the Cash family.

Albert and David Maysles’ classic GREY GARDENS immortalized the estate of Edith and Little Edie Beale, relatives of Jacqueline Bouvier Kennedy, who lived in alarmingly poor conditions. But there is more to the story: it was Lee Radziwill and Peter Beard who first brought the Maysles to the Beales, when the two set out to make a film about Radziwill’s childhood. The reels of that first contact were shelved for 45 years. This documentary recovers the lost footage. Anchored in Beard’s recollections and artistic vision, we are returned to “that summer” in 1972, a seductive dream world and collage of radically unconventional creative personalities—Warhol, Bacon, Jagger, Capote—practicing the art of living amidst oppressive forces of class expectation and prejudice.

Frankie is in her forties, ambitious and successful. She works in the aerospace industry at Filton, designing surveillance drones for the military. Shes never married, and is completely in control of every part of her life. Her closest relationship is with her father, who worked as an engineer on Concorde. But her life changes forever when she embarks on a passionate affair with Kahil, a French/Algerian aerospace student, twenty years younger than her. One day, she arrives at work and is detained by the security services: Kahil is a person of interest to MI5. Her well-ordered life starts to unravel in a welter of suspicion and prejudice, as Frankie no longer knows whether to follow her passion or listen to the doubts that increasingly overwhelm her.

The film opens on a water-skiing accident – a girl (Délie) drives a speedboat and pulls a young man (Stan). They are both challenging their own limits when a crash occurs… Stan wakes up from a coma after this serious accident, to find out that genealogists are looking for an individual whose identity corresponds to his. Instead of asking himself questions about this testamentary filiation, he subscribes for Professor Starkov’s legacy, and embarks for the country of Las Estrellas… Purging odyssey where intuition and telepathy accelerates the journey in time. Dharma Guns revisits the myth of Orpheus and Eurydice fighting with the tyranny of Time-God…

Based on the best selling autobiography by Irish expat Frank McCourt, Angela’s Ashes follows the experiences of young Frankie and his family as they try against all odds to escape the poverty endemic in the slums of pre-war Limerick. The film opens with the family in Brooklyn, but following the death of one of Frankie’s siblings, they return home, only to find the situation there even worse. Prejudice against Frankie’s Northern Irish father makes his search for employment in the Republic difficult despite his having fought for the IRA, and when he does find money, he spends the money on drink.

Six men, one woman (and her brother) come together with one goal – to make the play. It would be probably another common story that this theater group is composed of anti-heroes who float lost in time and space, in a town where it seems that the sun sets in the east. Led by Sasha, a director who has recently returned to his hometown, this group of socially neadaptiranih amateurs starting the fight to their demons and the prejudices that surround them in the society. For dramaturgical template selection western and riding on stereotypes of the genre of the struggle between good and evil, the conflict between civilization and wilderness, the protagonists develop their life stories inevitably influencing and changing each other. Although, as time passes, the show looks increasingly like a mission impossible, almost all of its stakeholders is increasingly seen as a metaphor for their fate and get caught for it as the opportunity of a lifetime .

Freshly arrived Sandhurst-trained Captain Alan King, better versed in Pashtun then any of the veterans and born locally as army brat, survives an attack on his escort to his Northwest Frontier province garrison near the Khyber pass because of Ahmed, a native Afridi deserter from the Muslim fanatic rebel Karram Khan’s forces. As soon as his fellow officers learn his mother was a native Muslim which got his parents disowned even by their own families, he falls prey to stubborn prejudiced discrimination, Lieutenant Geoffrey Heath even moves out of their quarters, except from half-Irish Lt. Ben Baird.