Anthology film made as an act of protest against Hungarian government of Viktor Orban.
Roya is a middle-class Muslim woman that struggles to find herself in the sprawl of urban Bangladesh. When she discovers that she will be replaced by a younger actor for the role of Nandini —a central character of Rabindranath Tagore’s political play Red Oleanders —she battles to reconstruct the part, reclaiming her identity and sexuality in the process. As she sets the play in a modern day ready-made garment factory in Dhaka, her journey to establish her individuality is juxtaposed with the journey of her housemaid Moyna, who later joins the industrial workforce.
Two estranged brothers return to the family cottage after the death of their father. Over the course of three days they must learn to let go of the man they thought they knew, and accept responsibility for the men they have become.
An awkward teenage outcast finds unlikely companions in two aged residents of the retirement home in which she works.
Following their success in the qualifying round for the Kansai regional competition, the members of the Kitauji High School concert band set their sights on the next upcoming performance. Utilizing their summer break to the utmost, the band participates in a camp where they are instructed by their band advisor Noboru Taki and his friends who make their living as professional musicians. Kumiko Oumae and her friends remain determined to attain gold at the Kansai competition, but trouble arises when a student who once quit the band shows interest in rejoining and sparks unpleasant memories for the second-year members. Kumiko also learns about her teacher's surprising past and the motivation behind his desire to lead the band to victory. Reaching nationals will require hard work, and the adamant conviction in each student's commitment to the band will be put to the test.
Sent to Afghanistan for 6 months, legionnaires Markov and Hamilton are caught in an ambush during an unauthorized expedition. Markov saves Hamilton, seriously wounded by rebel fire, but leaves the Legion without honors. Once back in Paris, Hamilton, convalescing, hopes to remain a legionnaire, while Markov, now a civilian and without working papers, tries to make ends meet with his son Khadji. Hamilton lends his identity to his Chechen friend, so that he can work legally. But one day, Markov disappears, leaving Hamiltion disorientated and Khadji alone in the world.
Nadia is an apathetic 16-year-old girl with no friends of sorts, in or outside school. One day, she takes a walk with local no-good Brando, and the boy rapes her. From that moment on, Nadia's life changes forever.
Mohammad Javad Halimi is a simple government's employer who manages after years to buy a house for himself outside the city's limits. But in the second night in his new house a thief is coming to his house. He manages to catch the thief but delivering him to the authorities is another story.
An epistolary feature film: a cinematic discourse between a British director Mark Cousins, and an Iranian actress and director Mania Akbari which extends the concept of "essay film" with startling confrontations in the arenas of cultural issues, gender politics and differing artistic sensibilities. A unique journey into the minds of two exceptional filmmakers which becomes a love affair on film.
Lisa, an aspiring songwriter, whose farming family has suffered foreclosure is forced to work at a new, 'urban farm' where she meets Dalia. Her casual racism leads her to be fired but the women end up drawn into a passionate affair.
Anna, the daughter of an elderly owner of Kõrboja farm, is told by her father that if she won't move in their home farm then it will be sold to strangers. But the farm needs also a master, and Anna has been living in town for years. She comes back home and reunites with Villu, her friend from childhood.
During the German occupation of Estonia a young mother finds a Red Army soldier hiding in the hay in her barn.
In this tale of second chances, two ex-lovers run into each other in a restaurant. Both are with new partners. Both are unhappy. Both are still in love with the other. Dormant feelings rush to the surface and the opportunity to rekindle the past presents itself. Will the outcome be different?
Taking its lead from French artists like Renoir and Monet, the American impressionist movement followed its own path which over a forty-year period reveals as much about America as a nation as it does about its art as a creative power-house. It’s a story closely tied to a love of gardens and a desire to preserve nature in a rapidly urbanizing nation. Travelling to studios, gardens and iconic locations throughout the United States, UK and France, this mesmerising film is a feast for the eyes. The Artist’s Garden: American Impressionism features the sell-out exhibition The Artist’s Garden: American Impressionism and the Garden Movement, 1887–1920 that began at the Pennsylvania Academy of the Fine Arts and ended at the Florence Griswold Museum, Old Lyme, Connecticut.
A damsel in distress agrees to run away with her wealthy lover in order to escape from her abusive husband. But all is not as it seems in this 1940s film noir.
On a remote island off the coast of Maine, Liv, after years of silence, begins to weave a language out of Shakespeare's words. A driven neurologist, brought to the island to protect her, commits her to a psychiatric hospital. She becomes a full-blow rebel in the hospital; her increasing violence threatens to keep her locked up for life as she fights for her voice and her freedom.
The “Prophecy of the 7th Fire” says a “black snake” will bring destruction to the earth. For Winona LaDuke, the “black snake” is oil trains and pipelines. When she learns that Canadian-owned Enbridge plans to route a new pipeline through her tribe’s 1855 Treaty land, she and her community spring into action to save the sacred wild rice lakes and preserve their traditional indigenous way of life. Launching an annual spiritual horse ride along the proposed pipeline route, speaking at community meetings and regulatory hearings. Winona testifies that the pipeline route follows one of historical and present-day trauma. The tribe participates in the pipeline permitting process, asserting their treaty rights to protect their natural resources. LaDuke joins with her tribe and others to demand that the pipelines’ impact on tribal people’s resources be considered in the permitting process.
After a twenty year period of multiple illnesses and injuries, the filmmaker turns the camera on herself as a way to analyze her chances for a happier, healthier life. In the process, she captures the frustration, tedium and petty annoyances of a revolving-door relationship with the medical establishment, while portraying the complicated web of emotions that accompany any medical problem. With humor and honesty, The Odds of Recovery uses the filmmaker's medical history as a means to address a perennial human problem: the desire to avoid conflict and deny the need for radical change.
The film's main theme is obsession. An obsession with love, with art, originality, copying, with success, money and... with oneself. Sooner or later, if we lose our rational upper hand over it and let ourselves be dragged down by it, every obsession leads to destruction. But it is only when being dragged down, in spite of all the cuts and bruises, that we find a unique DELIGHT, if only for a few short moments - and what else is life really about? It is like a drug. What at first seems to be weak and trivial is capable of expanding and growing into a serious problem that can appear to be absolutely incomprehensible and absurd to those who have never experienced anything like it.
A woman recovering from an eating disorder re-encounters someone from her past.
The story of a young boy forced to spend all five years of his short life in hospital while the federal and provincial governments argued over which was responsible for his care, as well as the long struggle of Indigenous activists to force the Canadian government to enforce “Jordan’s Principle” — the promise that no First Nations children would experience inequitable access to government-funded services again.
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