2005
This “Best Fiction Film Winner”* follows Valentine, a female assassin who is trapped in a room with one of her marks during the last few minutes of his life. The moment changes her own life as she vows to give up the business and seek redemption by finding the son of the man she has killed. But once in the small desert town of “Godfree”, which may or may not be stranger than the world she has just left, her old life returns to haunt her. Convinced she has joined forces with an elusive ex-assassin named “Cupid”, her former comrades hunt her down and soon discover that some things are not what they appear…. *Hollywood Documentary And Fiction Film Festival (2006)
Z, a Seattle bicycle cop, tries to make sense of the world while patrolling the city streets but can’t focus on his job because he’s so preoccupied with suspicions that his girlfriend is cheating on him.
For his fourth full feature, Toyoshi Toyoda has abandoned the theme of the angry young man, examined in depth in Pornostar, Blue Spring and 9 Souls. Kuchu Teien is, on the face of it, more a drama, a character study, than a typical Toyoda genre flick. Yet within this beautifully structured and photographed film, there lies a dark soul. Ostensibly the story of a happy family, it becomes increasingly clear as the movie progresses that the Kyobashis are anything but. Despite a family agreement that they are all open with each other, the entire household knows the opposite is true.
Hiroshi, a 30 year-old businessman, has traveled back in time 20 years. He encounters Kazumi, a young woman who was gravely ill. Hiroshi regarded this as an opportunity to help the young woman from his past, the memory of whom he had always cherished.
The film centers on a Spanish tapas bar and the love lives of the loosely interconnected people in the neighborhood surrounding the bar. The pairs of lovers include a middle aged woman and a young man; an elderly, drug dealing woman and her terminally ill husband in poor health; the tapas bar owner and his estranged wife; and two Chinese immigrants.
When the troubled son of an NGO worker refuses to take a test and announces that he is not leaving his room, his concerned mother asks one of her clients, a Cuban exile, for help in setting the boy straight. Gonzalo has decided to drop out of school, and his mother Ana isn’t sure how to convince the boy that he’s making a crucial mistake. Ana’s client Carlos is a Cuban exile who makes his living selling cigars and artwork on the black market. When Carlos learns of Ana’s dilemma, he calls on recently released convict Mikel to teach the boy how to play chess. Perhaps is young Gonzalo can master the game, he can learn to start living again. As the lessons get underway, each of these characters learns that in order to truly move on with their lives they much first break free of the bonds that prevent them from being who they really are.
After being denied an American visa, a Bolivian professor becomes involved in a web of criminal activities, holds-up the American consulate and falls for a beautiful prostitute from the Bolivian lowlands.
A lifelong city boy finds that life in the country isn’t nearly as horrible as he suspected it would be after being sent to live with his elderly grandfather and befriending a loyal dog named Sheeba.
For years, Archie has been pining for Alice, the wife of his law partner, Sam. When Archie impulsively sends Alice an anonymous love note, she assumes it to be a playful gesture from her husband, and replies with her own unsigned letter. After Sam hides the note, Alice’s sister, Felicity, convinces her that he must be having an affair. As the extent of Sam’s infidelities becomes clear, Alice turns to Archie for support.
Sarah Silverman appears before an audience in Los Angeles with several sketches, taped outside the theater, intercut into the stand-up performance. Themes include race, sex, and religion. Her comic persona is a self-centered hipster, brash and clueless about her political incorrectness. A handful of musical numbers punctuate the performance.
Suffering from writer’s block and some curious ailments, Reiko (Nakatani Miki) moves to a countryside villa at her editor’s (Nishijima Hidetoshi) beckoning to quietly work on her next novel. Her new environment turns out to be anything but peaceful though when she sights her next door neighbor, professor Minoru Yoshioka (Toyokawa Etsushi), surreptitiously moving a thousand-year-old mummified corpse into his university lab for research. Though Reiko and Yoshioka get off to a bumpy start, the two grow closer over time, enough so that Reiko eventually agrees to hide the mummy in her home. But the mummy isn’t the only unlikely guest in her walls, as a female ghost also lurks disturbingly in the background. At first seemingly a quick trick of the eye, she grows clearer and more distinct by the day.
On a hot summer night in Brooklyn, singles and couples converge in a brownstone apartment to flirt, fight, hook up and break up. A dreamy comedy-drama about sex, love and freedom, “Home” packs a lot of stories into just two floors.
Monsters. Zombies. Chainsaws. Somebody Doesn’t Love Lucy…
A cyclist is killed, swiped by a Range Rover in a village lane. James and Anne Manning become involved because the victim is the husband of their cleaner, Maggie. James, a solicitor in the city, soon comes to suspect William Bule, a millionaire playboy who has moved back to the village. William, pressed by James, confesses to the hit and run. But the confession is clouded by Anne’s admission of her affair with William.
After breaking-up with his girlfriend Veronica, the unemployed John Hare rents a cheap room in an old boarding house owned by the nice Martin Stone and the landlord tells him that the house is crowded by discreet persons. John does not see any other tenant but a bizarre old woman in the house and during the nights, he sees weird things on his television and hears violent knocks on his door. When John calls Veronica, she notes that he is near a breakdown after many sleepless nights and decides to stay with him. However, Veronica vanishes during the night, leading John to an ultimate decision.
When retired physician Daniel Green (Bill Cobbs, Night at the Museum) lifts a 5-ton farm tractor off a boy trapped beneath, the enigma of his supernatural strength piques the curiosity of two med students passing through town. Visiting the old doctor at his isolated farmhouse, they soon learn his bizarre secret: he has uncovered the key to eternal youth. But sometimes the lust for immortality has deadly consequences. The night takes a twisted turn as the young men discover Dr. Green’s “miracle” has come with a horrifying price – and a fate far worse than growing old.
The story of the love between a female robot named Ainoa that discovers how valuable and precious life is and the young resistance fighter Yuri. Thanks to his love of Ainoa he overcomes his fanaticism and, like her, becomes human.
Aditya Singh, fondly called Adi Chachu by the children of his brother, lives in a large mansion in Mumbai with his brother, sister-in-law, sister and grandmother. He is the only one working in the family. He falls in love with a local teacher, Priya. They confess their feelings to each other and plan a wedding. However, before the wedding day Adi is run over by a truck to save Parth and dies. In afterlife, he meets The Hindu God of Death, Yamraj, a kind-hearted, emotional deity with designer clothes and an red old car. Yamraj allows Adi to go back to Earth as a ghost to stop his evil uncle who wants to sell Adi’s mansion to industrialist Hirachand. Adi enlists the aid of Shakti, a little boy, in order to save his family home.
Invited to a wealthy client’s mansion, time-traveling witch Yuko and her companions arrive to find a group of collectors assembled to participate in a mysterious auction. And the mystery only deepens when the collectors go missing one by one. As more guests disappear and strange occurrences abound, Yuko and her friends realize they must solve the mystery before they vanish as well.
In 1933, after leaving Dogville, Grace Margaret Mulligan sees a slave being punished at a cotton farm called Manderlay. Officially slavery is illegal and Grace stands up against the owners of the farm. She stays with some gangsters in Manderlay and tries to influence the situation. But when harvest time comes Grace sees the social and economic reality of Manderlay.
The South African multi-award winning film about a young South African boy from the ghetto named Tsotsi, meaning Gangster. Tsotsi, who left home as a child to get away from helpless parents, finds a baby in the back seat of a car that he has just stolen. He decides that it his responsibility to take care of the baby and in the process learns that maybe the gangster life isn’t the best way.
Writer-director Randall Miller’s heart-achingly sweet drama centers on the unsatisfying personal life of protagonist Frank Keane (Robert Carlyle), a sensitive baker who remains deeply despondent over his late wife’s untimely death. When Frank helps a stranger (John Goodman) who’s sidelined by a fatal accident on his way to a fateful reunion, he decides to show up for the rendezvous in the man’s place. In the process, he finds hope and redemption.
On the surface Henrik and Nina Christofferson are an ordinary family living happily. But they have a problem. Their daughter, Stine, a difficult 14 year old, has a habit of telling lies in class. When Stine accuses her father of sexual abuse, and is believed by seemingly eager social workers, their family is thrust into crisis. Could Henrik have done it? And when Stine prepares to return home, the ugly side of family life is exposed.
Iraqi filmmaker Hassan documents the lives of his friends and neighbors in the tumultuous days following the U.S. invasion of his country.
The lives of three people intersect on a late bus ride that’s hijacked by a suicidal political flunky. Shingo is a miserable young desk cop bucking for homicide division. Tetsu is a restroom cleaning attendant who has a mentally ill father and a penchant for mischief. And Saki is a petulant druggist/chemist who was born without an eye and keeps her disfigurement hidden behind shades. Months after the hijacking, the trio lives re-intertwine as they playfully seek revenge for their unhappy lives, until the games become deadly serious.
A talented, but struggling actor is willing to go to any length to get a job – including “break a leg”… especially those of other actors.
Set years ago in the era of the Joseon Dynasty, the story follows a young police officer named Namsoon (Ha Ji-won) who, along with her fellow officers, discovers a counterfeit ring operating out of the area they’ve been assigned to protect. However, as the criminals aren’t just printing up their own money, they also plan to use it to topple the economy and take down the government. As her investigative work continues, Namsoon soon makes the acquaintance of a young man known only as Sad Eyes (Gang Dong-won), for the way that he looks out at you from underneath his hair – he doesn’t say much, but he’s got that look and that’s all it takes to pique Namsoon’s interest in him, even if she shouldn’t be thinking those thoughts about someone she might have to toss in jail. Of course, Namsoon can’t deny her feelings even if the object of her affection belongs behind bars, and it’s not long before she’s starting to act on her emotions.
Two teenagers joining the same class in a high school die on the same day. The one to be top of the class is killed by a big knife on the street, the other – the second best of the class indeed – seems to be jumped from the top of the school building. Everybody believes that he first killed his classmate and than himself. But when the police finds small pill boxes into the stomachs of both kids confessing their murder two South Korean cops are torn into a new case of murder series. While they try to hunt down the serial killer, more pupils are getting killed…
A man and a woman meet in the hospital after their respective partners are involved in a car accident and learn that they’ve been having an affair.
Stories of people who regard augmenting their bodies as a way of life, whether for artistic reasons or out of pure vanity.
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