A woman who is about to die calls the town's priest and hands him a scapulary, saying that she knows of its great powers. Anybody who does not believe in them will end up dead.
Jack Torrance accepts a caretaker job at the Overlook Hotel, where he, along with his wife Wendy and their son Danny, must live isolated from the rest of the world for the winter.
After narrowly escaping a bizarre accident, a troubled teenager is plagued by visions of a large bunny rabbit that manipulates him to commit a series of crimes.
A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgängers, and an impossible transformation inside a prison cell.
In the winter of 1959, a single mother and her young daughter arrive in a rural French town, where they open an unusual chocolate shop that disrupts the moral fiber of the strictly Catholic townsfolk and mayor.
The Shadow Mountains, 1983. Red and Mandy lead a loving and peaceful existence; but when their pine-scented haven is savagely destroyed, Red is catapulted into a phantasmagoric journey filled with bloody vengeance and laced with fire.
A down-and-out Brooklyn detective is hired to track down a singer on an odyssey that will take him through the desperate streets of Harlem, the smoke-filled jazz clubs of New Orleans, and the swamps of Louisiana and its seedy underworld of voodoo.
Three identical prints of a single 100 foot fixed-camera take are shown from beginning to end-roll light-flare, with a few feet of blackness preceding/bridging/following the rolls.
Forced behind British lines by engine problems, the Red Baron camouflages his plane, swaps uniforms with a dead soldier, and, posing as a Belgian, makes his way to a hospital.
A baleful limping man walks through Prague. He is Asmodeus (Juraj Herz), the fiend of lustfulness, entertaining himself by putting together by magic couples of lovers.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.
"In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding.