In 16th century Japan, amidst the pandemonium of civil war, potter Genjuro (Mori Masayuki) and samurai-aspirant Tobei (Ozawa Sakae) set out with their wives in search of wealth and military glory, respectively. Two parallel tales ensue when the men are lured from their wives: Genjuro by the ghostly charm of Lady Wakasa (Kyo Machiko); Tobei by the dream of military glory.
Kim Ki Taek's (Song Kang Ho) family are all unemployed and living in a squalid basement. When his son, Ki Woo, gets a tutoring job at the lavish home of the Park family, the Kim family's luck changes. One by one they gradually infiltrate the wealthy Park's home, attempting to take over their affluent lifestyle, but as their deception unravels events begin to get increasingly out of hand in ways you simply cannot imagine.
Edward Yang's multi-award-winning film looks at several turbulent weeks in the life of the Jian family. Husband and father NJ (Nien-Jen Wu) is a partner in a failing software company, which might just save itself by teaming up with an innovative Japanese games designer. Meanwhile his wife Min-Min (Elaine Jin) has gone off to a mountain retreat with a dubious guru, his teenage daughter Ting Ting (Kelly Lee) is getting her first, rough lessons in love, his young son Yang-Yang (Jonathan Chang) is asking difficult questions and getting into trouble at school - and his mother-in-law has suffered a stroke and lies in a coma. In the middle of all the confusion NJ runs into his childhood sweetheart Sherry, the girl he jilted twenty years earlier, and starts to wonder about starting over.
A Man Escaped (1956)Un condamné à mort s'est échappé ou Le vent souffle où il veut
Based on the true story of Resistance fighter Andre Devigny, who was imprisoned and sentenced to death by the Nazis during the Second World War, the film reconstructs his actual cell at the Lyons fortress of Montluc, and follows his meticulous plans for escape. This totally involving and thrilling tale of courage and faith is all the more authentic for its use of non-professional actors and Bresson's spare style.
Train engineer Johnny Gray (Buster Keaton) is turned down when he tries to enlist in the Confederate Army during the American Civil War as his occupation is deemed too important. When his train (The General) is stolen by Union soldiers so that it can be used to attack Confederate forces, only Johnny and his girl Annabelle Lee can save the train and warn the Confederates about an impending attack.
Sergio Leone's monumental epic 'Once Upon a Time in the West' ranks among the five or six all-time Western masterpieces. The picture itself is as big as its Monument Valley locations, as grand as its fine, distinguished cast. Henry Fonda plays the blackest character of his long career. He's Frank, the ruthless, murderous psychopath who suffers conscience pangs after annihilating an entire family. Jason Robards is the half-breed falsely accused of the terrible slaughter. Charles Bronson plays the harmonica playing man who remembers how his brother was savagely tortured.
When Chris (Daniel Kaluuya), a young African-American man, visits his white girlfriend's (Allison Williams) family estate, he becomes ensnared in the more sinister, real reason for the invitation. At first, Chris reads the family's overly accommodating behaviour as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined.
Senegalese director Ousmane Sembene was the first Sub-Saharan African filmmaker to achieve international recognition, and is widely regarded as the father of African cinema. His first major work. Black Girl, is the uncompromising story of Diouana, a young Senegalese nanny whose hopes of an exciting life in France are dashed when her white employers expect her to work as their servant. Also included is Sembene's directorial debut, the short film Borom Sarret, the first ever indigenous Black African film. An allegorical tale exploring poverty and inequality, it charts a day in the life of a hard-up cart driver in Dakar, whose good deeds are rewarded with great injustice.
Garlanded with awards, Apichatpong's visionary film exists in dual realms, exploring connected themes of love and desire in a radically different way. A fractured love story is interrupted by a feverish night-time odyssey into the heart of the jungle where shape-shifting spirits and tigers abound. The conscious and the subconscious, the modern and the ancient, reality and myth; all become magically entwined in this hypnotic, mysterious drama.
Sandrine Bonnaire won a Best Actress Cesar for her portrayal as Mona - a young and defiant drifter in this tragic story. Using a largely non-professional cast Varda recollects Mona's story through flashbacks of those who encountered her, producing a splintered portrait of an enigmatic woman. She's not a kind girl but courageous while wandering in the winter. She announces in 1984 the collective conciousness of homeless people dying from the cold.
A revelation of staggering force, lyrically composed by one of the leading poets of the 20th century, Forough Farrokhzad. Her first and only film, it depicts the lives and bodies of people tragically deformed by leprosy. A film of stirring and powerful images, and a beautifully, tragically poetic narration that heavily influenced the modern Iranian cinema of Abbas Kiarostami and Mohsen Makhmalbaf.
On one side is an army of gunmen dead-set on springing a murderous sidekick from jail. On the other is Sherriff John T. Chance and his two deputies: one a drunk, the other a cripple. Place your bets! John Wayne is Chance in 'Rio Bravo', a lean Western classic packing solid heroics around a strong emotional core. He's joined by Dean Martin as the deputy coming off a two-year drunk, Walter Brennan as the old coot whose fiery spirit outmatches his hobbled stride, Ricky Nelson as a youngster out to prove himself by joining the lawmen and Angie Dickinson as a woman with a past who hopes to rope Chance.
"Come and See" is one of the greatest war films ever made and one of the finest achievements of Soviet cinema. A devastating account of the Nazi occupation of Belarussia during World War II, it tells the story of a young boy's abrupt loss of innocence when he joins the Soviet resistance and is thrust headlong into the brutal horrors of combat. Featuring terrifyingly authentic battle scenes and poetic, almost surreal imagery, director Elem Klimov has fashioned a vivid and unforgettably powerful portrait of the terrible atrocities committed by men in the name of war.
Al Pacino heads the star cast as Michael Corleone, heir to the criminal empire established by his Mafioso father, the late Don Corleone. The time is mid-1940's: Michael is now in charge of all gambling activities in Nevada, making certain that any and all political or mob enemies are quickly bought off, compromised, or disposed of. Throughout the film, Michael's travels are paralleled with the early experiences of his father, played in flashbacks by Robert DeNiro.
In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as 'The Working Class Goes to Heaven'. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-something nurse. In the midst of the sexual revolution, Veronika is highly promiscuous, and begins to make advances on Alexandre. During the summer of 1972, Alexandre and Marie are nude in bed in their apartment when Veronika visits. Marie lets her in and Veronika insults both of them, but acknowledges she is not pure herself. The three begin a ménage à trois and sleep in the same bed, with Veronika assuring Alexandre she and Marie both love him, and telling him to be more happy with his situation and life. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. As the three sit together, Veronika attempts to reassure Marie about her looks and body. Tearfully, Veronika speaks about how she believes no women are truly whores, and how love is meaningless unless it produces a child.
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