玻璃之城

Michael and Joanna are a young and successful married couple who appear to have it all. But when Michael finds himself alone on a business trip with an attractive new colleague and Joanna encounters the other great love of her life, each is thrust into an evening of temptation.

Two bad women fight over one man in a back-stabbing, money-grabbing, insurance-hustling, double-dealing, two-timing caper.

Charles Chinaski is a guy with many problems and feels responsible for most of them: women, alcohol, his hostility towards certain groups of people. One day, he decides to consult the first doctor he comes across.

Two young Argentines, brought together by chance, wander the streets of New York City, increasingly lost in a maze of currency exchange, translation problems, religious vocation and nocturnal flirtation.

A woman returns to her home town to sort out her troubled marriage and finds new happiness in the rekindling of a broken friendship with her cousin.

A widower and her daughter witness the retirement of a colleague of his and the closing of her department at her university.

The friendship between two children is threatened by their parents’ differences. Malú is from a family that was upper-class before the Revolution and remains well-to-do through remittances from relatives overseas, and her single mother (Larisa Vega Alamar) does not want her to play with Jorgito, as she thinks his background coarse and commonplace. Jorgito’s mother (Luisa María Jiménez Rodríguez),

During a long, hot summer in seventies London, young neighbors Holly and Marina make a childhood pact to be friends forever. For Marina, troubled, fiercely independent, determined to try everything, Holly stays the only constant in a life of divorcing parents, experimental drugs and fashionable self-destruction. But for Holly, a friendship that has never been equal gradually starts to feel like a trap.

There are terrible things happening in the desert...unexplainable, frightening things. Tragic, inexplicable incidents… ever since she arrived.

Frustrated by the lack of intimacy in her relationship, a young schoolteacher goes through a series of intimidating and often violent sexual partners.

Liv Ulmann's directorial debut also had her co-authoring the screenplay (with poet Peter Poulsen) as based on a Henri Nathansen's 1932 novel about an affluent late 19th century Jewish merchant family in Copenhagen. Ulmann focuses on strong-willed daughter Sofie's progress through life: a love affair with a gentile painter, an arranged marriage , childbirth and ever more fateful challenges.