A lovely summer day in Paris. Roger and Martine are on their way to work. "Work" is a euphemism because Martine is a prostitute in Pigalle. She is saving money to buy the house of her dreams in the country. Her husband Roger "works" for the same goal, but in a brothel for women. There, duchesses rub elbows with businesswomen, militant members of women's lib and other female pleasure-seekers.
During a trip to Germany to scatter their grandfather's ashes, German-American brothers Todd and Jan discover Beerfest, the secret Olympics of downing stout, and want to enter the contest to defend their family's beer-guzzling honor.
A werewolf loose in Los Angeles changes the lives of three young adults who, after being mauled by the beast, learn that the only way to break the curse put upon them is to kill the one who started it all.
A private investigator follows in the footsteps of his idol, Michael Knight, the star of Ο ιππότης της ασφάλτου (1982), and comes up with PSIT: the equivalent of KITT and Greece's first artificially intelligent, crime-fighting vehicle.
Lolo Peping built his backyard farm in his hometown in Mindanao, out of vegetable scraps or whatever edible plant life he could find in the garbage heap.
The title of Truth Through Mass Individuation references Carl Jung. An isolated figure is seen performing successively more aggressive actions — dropping a cymbal among a flock of pigeons, firing a rifle in a deserted city street.
Film in three segments. In the first, father is suspicious about his son's masculinity. The second one shows a Don Juan-like guy who, at church for his own wedding, cannot remember who the bride might be.
Lola Reyes is a singer who is succeeding and, therefore, is besieged by everyone. A group of homosexuals are the only ones authorized by his possessive mother to be her friends.
15-year-old Dawn runs away from what she feels is an intolerable home life. In the big city, she ends up turning to prostitution when she is unable to get a job due to her age.
Adaptation of a Strindberg play by Lee Grant for the 1974 AFI Directing Workshop for Women. Restored in 2022 by the Academy Film Archive and The Film Foundation.
