Babhruvahana, like Arjuna at the beginning of the Kurukshetra war, faces a moral dilemma. Can he risk harming his parents? While Chitarangada alerts Arjuna to shoot an arrow at their son and take advantage of Babhruvahana’s momentary lapse due to a sense of devotion towards them (as Arjuna did with Karna), Uluci, the Naga princess and yet another abandoned wife of Arjuna’s, reminds Babhruvahana of the teaching of the Kurukshetra battle that in the battlefield there is no space for feelings even towards parents. What Babhruvahana must do is to establish his mother’s good name and thereby his own character. This film captures this conflict spectacularly. The eerie parallels with the moral dilemmas of the great Mahabharata battle aside, here all the familial relationships (in particular, strong mothers and dutiful sons) become exaggerated and demand our attention.
Julie Bronson, whose father operates a desert cafe, is attracting the unwanted attention of a half-crazed gangster known as The Ghost who runs a desert night club several miles away.
A former resident of the town of Peyton Place, now wealthy and powerful, secretly returns to the town and sets in motion a spate of killings designed as revenge for past wrongs.
The good guys, a trio of swordsmen, gradually collect allies, including one by marriage. The groom must depart along with his bride but she must pass 3 tests before leaving.
Avant-garde appeal on behalf of and made by the adventurous leftist London cinema, The Other Cinema, using the facilities provided by the BBC community programme unit.
Don Diego goes to war and his son Don Gonzalo is, in his absence, the new lord of the region. The milling Elvira, one of the mistresses of Don Diego, has a beautiful daughter, Elena, who has the desire of Don Gonzalo.
After an encounter with UFOs, an electricity linesman feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.
