In the Summers 2024 - Movies (Mar 8th)
Old Guy 2024 - Movies (Mar 8th)
Captain America Brave New World 2025 - Movies (Mar 8th)
Moana 2 2024 - Movies (Mar 7th)
Ghost Cat Anzu 2024 - Movies (Mar 7th)
The Silent Planet 2024 - Movies (Mar 7th)
Tuesday 2024 - Movies (Mar 7th)
Plankton The Movie 2025 - Movies (Mar 7th)
CHAOS The Manson Murders 2025 - Movies (Mar 7th)
George A. Romeros Resident Evil 2025 - Movies (Mar 7th)
The Little Mermaid 2024 - Movies (Mar 7th)
Bloat 2025 - Movies (Mar 7th)
Confessions of a Romance Narrator 2025 - Movies (Mar 6th)
Woods of Ash 2025 - Movies (Mar 6th)
Agents 2024 - Movies (Mar 6th)
Barbie and Teresa Recipe for Friendship 2025 - Movies (Mar 6th)
Picture This 2025 - Movies (Mar 6th)
Mozarts Sister 2024 - Movies (Mar 5th)
The Road to Patagonia 2024 - Movies (Mar 5th)
Grunt 2025 - Movies (Mar 5th)
The Unbreakable Boy 2025 - Movies (Mar 4th)
Portugal with Michael Portillo - (Mar 9th)
The Sunday Show with Jonathan Capehart - (Mar 8th)
The Beat with Ari Melber - (Mar 8th)
Saturday Kitchen Live - (Mar 8th)
Around the World in First Class - (Mar 8th)
Know Where to Hide - Wie niet weg is… - (Mar 8th)
SAKAMOTO DAYS - (Mar 8th)
Taskmaster - (Mar 8th)
The Weakest Link - (Mar 8th)
Britains Got Talent - (Mar 8th)
Alex Witt Reports - (Mar 8th)
Mafia- Most Wanted - (Mar 8th)
Would I Lie to You - (Mar 8th)
Crimewatch Live - (Mar 8th)
Rogue Claimers - (Mar 8th)
Solo Leveling - (Mar 8th)
Ancient Aliens - (Mar 8th)
The Chase - (Mar 8th)
The Fifth Estate - (Mar 8th)
The Young and the Restless - (Mar 8th)
TO EACH HIS OWN CINEMA is a 2007 collection of 3-minute shorts by some 36 directors around the world on the theme of what cinema means to them. So many auteurs already make films about films inasmuch as they allude to classics, but here most of the shorts are actually set in cinemas, with audiences in rows of seating. You'll need to have a decent familiarity with the arthouse canon before watching this, though. It's fascinating how so many of the directors, regardless of what continent they hailed from, choose to have French New Wave films playing in the background as their stories are told. It opens with Raymond Depardon's "Open-Air Cinema", where a crowd of Egyptians watched an outdoor projection in Alexandria, and in spite of the unusual writing and the women's veils, they seem to be just like us. Zhang Yimou later does much the same in a Chinese village. One of the remarkable aspects of this collection are the similar ideas. Two stories deal with thieves stealing purses in dark cinemas. Three deal with the blind and how they perceive cinema. Many look back to childhood/earlier eras. Hou Hsiao-Hsien's short recreates 1950s Taiwan on an elaborate set to show the typical visit to a cinema of his youth. Amos Gitai's film juxtaposes 1930s viewers of Yiddish cinema, a vibrant tradition destroyed by the Holocaust, with a modern Israeli audience in wartime. Youssef Chahine's looks back at his first visit to Cannes 47 years before. Some of the films deal with serious political themes: Amos Gitai on the Israeli-Arab relations, David Croneberg on anti-semitism, and Bille August with Danish–immigrant relations. However, there are also a number of overtly funny shorts, like Takeshi Kitano's, where a working man's chance to unwind by watching a film keeps getting interrupted by problems with the projector. In Lars Van Trier's contribution, Jacques Franz plays an annoying businessman who can't stop bragging about his success, though the extreme gore and violence that follows makes for very black humour. Elia Suleiman's is Buster Keatonish physical comedy in the modern world. Some shorts are notable for continuing an aesthetic that the director had already established in an earlier film. Kaurismäki's short is his usual style of an ostensibly contemporary setting, but with 1950s rock music and working class people who speak utterly deadpan. (Unusually, however, it uses none of his typical troupe of actors.) Abbas Kiarostami's "Where is My Romeo?" is a sort of follow-up to his experimental film SHIRIN, which showed only the faces of numerous women as they watched a classic Iranian tale of love; here these women are watching "Romeo and Juliet" instead. All in all, this proved a continuously engaging film, whose 2-hour running time just flew by for me. Nearly all the shorts were entertaining, the sole exceptions for me being Jane Campion's oddball short, where an adult woman plays an insect that vexes a projectionist, and Gus Van Sant's film with a randy teenager entering into the film being projected. Nothing here seems a must-see classic, but if you like a few of the directors here, you're sure to enjoy this set.
Professor Philip Goodman devotes his life to exposing phony psychics and fraudulent supernatural shenanigans. His skepticism soon gets put to the test when he receives news of three chilling and inexplicable cases - disturbing visions in an abandoned asylum, a car accident deep in the woods and the spirit of an unborn child. Even scarier - each of the macabre stories seems to have a sinister connection to the professor's own life.
Jackie is a CCTV operator. One day, a man shows his face on her monitor, a man she hoped never to see again. Now she has no choice and is compelled to confront him.
Teenage best friends Mila, Hanna and Kati play matchmaker to their teachers while helping each other through their own budding romances.
Cultural critic David Kepesh finds his life - which he indicates is a state of "emancipated manhood" - thrown into tragic disarray by Consuela Castillo, a well-mannered student who awakens a sense of sexual possessiveness in her teacher.
Filmmaker Talya Lavie steps into the spotlight with a dark comedy about everyday life for a unit of young female Israeli soldiers. The human resources office at a remote desert base serves as the setting for this cast of characters, who bide their time pushing paper, battling for the top score in Minesweeper, and counting down the minutes until they can return to civilian life. Amidst their boredom and clashing personalities, issues of commitment—from friendship to love and country—are handled with humor and sharp-edged wit.
The tragic struggle of an undocumented Latino family in Los Angeles after they have sent their eldest son to war.
The Davenport sisters have drifted apart over the years but when their Dad wins the lottery all he wants is having his girls home for Christmas. Getting over years of resentment proves a big task but it's pushed aside when their mother suffering from dementia loses the ticket. They put aside their differences to help find the ticket and in doing so get over their differences and finally learn to come together.
Kim Ji-young, an ordinary woman in her 30s, suddenly shows signs of being inhabited by other women from her life, past and present.
Jess Bhamra, the daughter of a strict Indian couple in London, is not permitted to play organized soccer, even though she is 18. When Jess is playing for fun one day, her impressive skills are seen by Jules Paxton, who then convinces Jess to play for her semi-pro team. Jess uses elaborate excuses to hide her matches from her family while also dealing with her romantic feelings for her coach, Joe.
Lili, a pouty and voluptuous 14-year-old, is caravan camping with her family in Biarritz. She's self-aware and holds her own in a café conversation with a concert pianist she meets, but she has a wild streak and she's testing her powers over men, finding that she doesn't always control her moods or actions, and she's impatient with being a virgin. She sets off with her brother to a disco, latching onto an aging playboy who is himself hot and cold to her. She is ambivalent about losing her virginity that night, willing the next, and determined by the third.
As the romantic monsoon rains loom, the extended Verma family reunites from around the globe for a last-minute arranged marriage in New Delhi. This film traces five intersecting stories, each navigating different aspects of love as they cross boundaries of class, continent and morality.