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When larcenous real estate clerk Marion Crane goes on the lam with a wad of cash and hopes of starting a new life, she ends up at the notorious Bates Motel, where manager Norman Bates cares for his housebound mother. The place seems quirky, but fine… until Marion decides to take a shower.
A young female embezzler arrives at the Bates Motel, which has terrible secrets of its own. Although this version is in color, features a different cast, and is set in 1998, it is closer to a shot-for-shot remake than most remakes, Gus Van Sant often copying Hitchcock's camera movements and editing, and Joseph Stefano's script is mostly carried over. Bernard Herrmann's musical score is reused as well, though with a new arrangement by Danny Elfman and recorded in stereo.
In forgotten towns along the American border, a young mother drifts from one motel to the next with her intoxicating boyfriend and her 8-year-old son. The makeshift family scrapes by, living one hustle at a time, until the discovery of a mobile home community offers an alternative life.
A 15-year-old discovers the joys and heartaches of first love with an older teen, but in the ensuing years, cannot seem to move past their breakup.
One early morning, at the beginning of a very hot summer, Mariano, a sixteen-year-old teenager, returns home, jumps into the pool and does some laps with a stopwatch. Then he gets out and mows the lawn, where he accidentally cuts the mower’s power cord when he runs over it. Set on fixing it, he goes to find tools but stumbles across a gun that he brings back to his room to shoot himself twice. But Mariano survives: one bullet just grazed his head and the other one, he believes, is stuck somewhere inside his body even if the doctors can’t find it anywhere, nor any exit wound for that matter. The only aftereffect he seems to have is a mysterious double-note when he plays music with his friends, which according to him is probably the result of the bullet still being inside him. But Mariano’s impulsive act will have other consequences on the people surrounding him…
Near a coastal village of Thailand, by the sea where thousands of Rohingya refugees have drowned, a local fisherman finds an injured man lying unconscious in the forest. He rescues the stranger, who doesn’t speak a word, offers him his friendship and names him Thongchai. But when the fisherman suddenly disappears at sea, Thongchai slowly begins to take over his friend’s life - his house, his job and his ex-wife...
Marisa Paredes is Leocadia ("Leo") Macias, a woman writing “pink” romance novels under the alias of Amanda Gris that are very popular all across Spain. Unlike her romantic novels, her own love life is troubled. Leo has a less than happy relationship with her husband Paco, a military officer stationed in Brussels then later in Bosnia, who is distant both physically and emotionally.
During the '20s, at the request of one of his employers, the poet Fernando Pessoa conceives an advertising slogan for the drink Coca-Louca, which panics the authoritarian government of that time.
An absurdist look at depressed but adaptable Buenos Aireans struggling to make ends meet in a post-crash economy.
Gregoire Canvel has everything a man could want: a wife he loves, three delightful children and his dream job - he is a film producer. Discovering talented filmmakers and developing films that fit his conception of the cinema, free and true to life, is precisely his reason for living. Gregoire devotes almost all of his time and energy to his work. Although he spends weekends with his family at their house in the country, even these precious moments are regularly interrupted by demanding directors and concerned investors. While Gregoires very presence commands admiration, and his exceptional charisma lead many to believe he is invincible, the future of his prestigious production company, Moon Films, is in doubt; too many productions, too many risks, too many debts. Storm clouds are gathering, and Gregoires realisation that he may have made one gamble too many will trigger a series of events that will change the lives of his family forever.
"I do not care if we go down in history as barbarians." These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.
Turin, 1969. Nine-year-old Massimo’s idyllic childhood is shattered by the mysterious death of his mother. The young boy refuses to accept this brutal loss, even if the priest says she is now in Heaven. Years later in the 90s, adult Massimo has become an accomplished journalist. After reporting on the war in Sarajevo, he begins to suffer from panic attacks. As he prepares to sell his parents’ apartment, Massimo is forced to relive his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds…
Jean-Marie Straub pushes this musicality of blocks to a paroxysmal extreme, mixing blocks of time (40 years separate the various extracts that are going to be used, and what is to be filmed), blocks of text (Malraux, Fortini, Vittorini, Hölderlin) and blocks of language (French, Italian, German), and from this ruckus emerges the history of the world, yes, History with a capital H, and from the same movement, the political hope of its being overtaken. So this is an adventure film, about the Human adventure, still one that is always, in the end, overtaken by Nature. (Arnaud Dommerc)
After the Cuban Revolution, Che is at the height of his fame and power. Then he disappears, re-emerging incognito in Bolivia, where he organizes a small group of Cuban comrades and Bolivian recruits to start the great Latin American Revolution. Through this story, we come to understand how Che remains a symbol of idealism and heroism that lives in the hearts of people around the world.
As she and her family embark on a short vacation, a Chilean teenager slowly comes to the realization that her parents might be splitting up.
Audrey delves into the archives of the New York Public Library in search of a rare recording produced in 1909.
Silvia (Rosario Blefari) works in a cafe and is less then thrilled with her life, which seems to be going nowhere. On her 27th birthday, she decides some changes are in order, but the most she seems able to decide upon is buying a canary as a pet. Silvia decides to take a trip to Italy; once she's there, she meets a man who politely informs here she isn't the only woman named Silvia Prieto listed in the phone book, which starts her wondering about the others.
A group of men and women have been brought together after World War II, when Italy regained its national and territorial unity. They make up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life, and look to protect themselves from violence, misery and fear. Amid the ruins of this post-war period, these men and women build a new rapport between themselves, between sexes, between generations, between social and geographical origins, between political camps.
Judaism, Hinduism and potato krishnas.