Tino Ponce operates Circo Mexico, which journeys across the Mexican countryside in search of paying customers. Wanting to please his father and continue the family business, Ponce has recruited his young children as performers while laboring night and day to maintain the circus's faltering financial fortunes. But a growing resentment brewing within his wife about their hardscrabble existence suggests troubles on the horizon. While documenting the brutal regimen of circus life, Circo also peels back the curtain on the Ponce family's inner dynamics, revealing generational divides and money worries that threaten to tear apart a marriage. Buttressed by indie-rock band Calexico's evocative score, Schock's film observes this family drama with a sympathetic but clear-eyed view of a vanishing way of life. And because Circo refuses to be sentimental in its handling of the material, the story's twists become all the more poignant
Aibileen Clark is a middle-aged African-American maid who has spent her life raising white children and has recently lost her only son; Minny Jackson is an African-American maid who has often offended her employers despite her family's struggles with money and her desperate need for jobs; and Eugenia "Skeeter" Phelan is a young white woman who has recently moved back home after graduating college to find out her childhood maid has mysteriously disappeared.
To win the celebrity and self-made wealth he craves, an aimless, twenty-something Manhattan playboy devises a film based on his party-boy, club-going lifestyle, and hires a self-destructive aspiring playwright to ghost the feature script.
It's official; class is back! Riots on the street, old-Etonians in government, a workforce on strike, "Downton Abbey", "The King's Speech", the royal wedding and vajazzling.
The Hangover crew heads to Thailand for Stu's wedding. After the disaster of a bachelor party in Las Vegas last year, Stu is playing it safe with a mellow pre-wedding brunch.
