The action in this lavishly produced film takes place at an oddly ark-shaped mansion during World War I, and in spirit (although not in story) it reflects the play which inspired it, the ferociously antiwar Heartbreak House by George Bernard Shaw. A large group of family and friends have gathered at this country house to dance, drink, and converse. Their conversation, in particular, is adorned with erudite literary references and quotations. Despite their apparent refinement, their preoccupations are simple: sex and violence. Disquieting images break the tranquility of the vacationers' inappropriate idyll: some of these include documentary footage of starving African children, images (both real and re-enacted) of George Bernard Shaw going about his daily life, and a corpse coming to life on an autopsy table, only to cheapen that miracle by scolding a group of women. The music used in the film ironically points to its disturbing message and is uniformly anachronistic.
Olivier Assayas, Gus Van Sant, Wes Craven and Alfonso Cuaron are among the 20 distinguished directors who contribute to this collection of 18 stories, each exploring a different aspect of Parisian life.
The Drummer and the Keeper tells the story of the unlikely friendship formed between two young men: Gabriel, a reckless young drummer who revels in rejecting society’s rules and Christopher, a 17-year-old with Asperger’s Syndrome, who yearns to fit in.
Eight years after the devastating tsunami, the wounds it left in Japan have still not healed. In her touching search for answers, Haru sets out on a long, eventful journey to her home town, where she lost her family in the flood.
A disgraced basketball coach is given the chance to coach Los Amigos, a team of players who are intellectually disabled, and soon realizes they just might have what it takes to make it to the national championships.
This is the story of Lenell Geter, an engineer who was accused and convicted of armed robbery. Because he had such faith in the system, he thought that he would eventually be released.
In a satirical way, the typical television coverage after a (fictitious) state election is simulated — including projections, interviews, commentaries, and a so-called “heavyweight round”.
This film recounts the murder of Vincent Chin, an automotive engineer mistaken as Japanese who was slain by an assembly line worker who blamed him for the competition by the Japanese auto makers that were threatening his job.
Documentary filmmaker Christian Blackwood profiles controversial Filipino director Lino Brocka, detailing his rags-to-riches rise in the mainstream film industry of the Philippines.
