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Joshua Marston, best known as the director of drug mule story MARIA FULL OF GRACE, gives us here a poignant depiction of blood feuds in northern Albania. The script was cowritten by Andamion Murataj, the film was shot on location, and the actors are all Albanians, some of them amateurs, speaking the authentic Gheg dialect of their region. Nik (Tristan Halilaj) is in his last year of high school and dreams of opening an internet/computer game café in his small town. His sister Rudina (Sindi Lacej) hopes to go on to university. Their dreams are dashed, however, when their father (Refet Abazi) kills a neighbour in a dispute over land. To avoid revenge attacks from the dead man's family, the males of the family are forced to stay inside their home at all times, a situation that could last for years while the community mediates the feud. With the father out of work, Rudina is forced to drop out of school, deliver a bread route, and buy contraband cigarettes to sell at a profit. Marston and his cowriter are clearly interested in depicting the intersection of two worlds in Albania: mobile phones and cheap motorbikes alongside ancient laws that hold a man's honour sacred. What weakens the film, however, is that nowhere is it made clear that blood feuds are not a typical feature of contemporary Albanian life: while they briefly erupted in the early 1990s after the fall of Communism, and some families still live under them, it is very unusual for one to start today. Without mentioning that things have changed, this film misrepresents Albania and misleads Western viewers towards a Boratish caricature. Note how other reviews here and elsewhere tend to commend the film more for "teaching them something about Albania" than for cinematography or acting. The camerawork is completely unimaginative, lacking any carefully composed tracking shots and depending far too often on a seasick shaky handheld camera following a walking actor. While the acting isn't outright bad, the deficiencies in the script only make their amateur effort stand out. While life for the men in the family is tedious as they can't step out of the house, this point is already sufficiently made by halfway through the film, and yet the script goes on and on without anything more to say. The ending seems ad hoc and doesn't really follow from the body of the film.
In a world where vendettas are officially sanctioned, the people sometimes needed help in carrying out their vengeance. Sanada Hiroyuki stars as Sukeroku the Helper, a ‘cool and rambling yakuza’ that has made a business out of helping victims carry out their revenge. When he returns to his hometown to pay a visit to his mother’s grave he meets a deadly ronin who carries a secret which eventually leads him into a vendetta of his own.
Two women in a remote Muslim community confront an escalating blood feud and reach deep into themselves in hopes to undo the feud stretching back generations.
Young Al Capone catches the eye of Johnny Torrio, a criminal visiting New York from Chicago. Torrio invites Capone to move to Illinois to help run his Prohibition-era alcohol sales operation. Capone rises through the ranks of Torrio's gang and eventually takes over. On top, he works to consolidate his power by eliminating his enemies, fixing elections to his advantage and getting rich. In his spare time, Capone courts the principled Iris Crawford.
Don Paolo, a young parson troubled by his love for Agnese, tries to make peace in a little village in Sardinia where two families are at war.
In early 1980s Manhattan, a pair of Irish-American brothers become embroiled in a conflict with the Irish Mob.
Gus Van Sant tells the story of a young African American man named Jamal who confronts his talents while living on the streets of the Bronx. He accidentally runs into an old writer named Forrester who discovers his passion for writing. With help from his new mentor Jamal receives a scholarship to a private school.
After a newlywed's husband apparently dies in a plane crash, she discovers that her rival for his affections is pregnant with his child.
Cultured Mario and outlaw Lucien, twins separated at birth, join forces to avenge their parents' death at the hands of evil Colonna. Because each feels all the same sensations experienced by the other, swordplay is difficult for them. Worse yet, raised very differently, they struggle to find common ground between their conflicting personalities. But to defeat their enemy, the two will have to overcome the obstacles and work as a team.
The tale of the famous vendetta, vengeance over the years between two families. For nearly nothing at the start, as always with Sicilians or Corsican people, from the underworld or not...
The gypsy Azucena (Fiorenza Cossotto) takes revenge for her mother who was accused of putting a curse on one of the old Count di Luna's two sons: she decides to abduct the younger child and throw it in the flames. But when she is about to carry out this fatal act, the gypsy sacrifices her own child and keeps the old Count’s son, whom she names Manrico (IL TROVATORE, Plácido Domingo). Later, as adults, the troubadour Manrico and the Count di Luna’s elder son (Piero Cappucilli) do not know each other, but become rivals for the beautiful Leonora (Raina Kabaivanska). Manrico succeeds in winning the young woman’s heart, and she sacrifices herself for him, deceiving the Count’s son. Mad with jealousy, the latter orders the execution of the troubadour in front of his mother. Azucena reveals to him that Manrico was his brother. This legendary performance of Giuseppe Verdi's most successful opera was recorded at the Vienna State Opera under the baton of Herbert von Karajan.
