Captain Salvation

Due to financial needs, undergraduate Tiffany took up compensated dating, regarding it as a personal choice that has nothing to do with ethics. Though at first, she’s feeling a bit uneasy, but soon she became indifferent. After one unpleasant experience serving a group of Japanese clients, she wanted to quit. But her agent Hazelnut convinced her to take up a long term sponsor Cheung. In the course of serving Cheung, a subtle feeling nourished between the two. On the other hand, she came across Rex, a young guy of integrity and passion. After one incident, she decided to quit Cheung and took up a new life with Rex. But just when she thought she could start over anew, something unexpected turned up making her realized that she had to pay for what she had chosen before...

Chandanada Gombe is a simple love story. Anant Nag is a landlord. Lakshmi's father is a school teacher who is struggling to find a bridegroom for Lakshmi. They get married with the help of relatives. Anant Nag unfortunately dies in an accident. The rest of the story continues about the life of a struggling widow and her child in a traditional society amid village politics.

Adam Jones is a Chef who destroyed his career with drugs and diva behavior. He cleans up and returns to London, determined to redeem himself by spearheading a top restaurant that can gain three Michelin stars.

A woman is released from prison after serving a sentence for a violent crime and re-enters a society that refuses to forgive her past.

Ira translates as “Anger,” but the titular emotion isn’t often conveyed by the unnamed man and woman at the center of this subdued Italian drama set on the grim fringes of society. Instead, they spend their nights working—he in the market, she on the streets—or wandering restlessly and relentlessly around their dark, decaying city. Writer/director Mauro Russo Rouge follows his characters as they drive down roads lit by the yellow glow of streetlights, push through the crowds at a pink-hued nightclub, pick up supplies in a glaringly bright supermarket, and meander down sidewalks with drinks in hand. They rarely emerge into the sunlight; most of the action takes place in claustrophobic indoor spaces or in the cold, gray light of dusk or dawn. So, too, do their expressions remain withdrawn—even when their nascent relationship triggers a decisive act of violence.

Nora is nursemaid to a wealthy family and in love with their chauffeur Nolan. When she hides her mistress' lover in her room, jealous Nolan shoots him and Nora, who refuses to tell about her mistress affair, is dismissed.

The question is, would the young tramp really have fallen in love with the groceryman's daughter if he had not caught her in the heart struggle? Be that as it may, she could not find it in her to drown the unwelcome visitor to the pantry, so she let it go and the silent little drama witnessed by the tramp greatly impressed him. Not so the strict aunt, she declared the whole thing to be in exact accordance with everything else in the family. Their hearts ran away with their heads. That was why they lost money on credit, could not pay off the mortgage and send the sick sister to a better climate. As for the tramp, they had no business to take him in. He could not pay for his keep. But the tramp surprised them all.

Águst Guðmundsson directed this Icelandic period drama, adapted from the short story We Must Dance by William Heinesen, and set on an island in 1913. Pétur (Gunnar Helgason) narrates, recalling the days when mainlanders arrived for a wedding. Flirtatious Sirsa (Pálína Jónsdottir) marries Harald (Dofri Hermannsson), son of a wealthy landowner on the island. Offshore, a ship is sinking, so the men form a rescue party, returning with the captain, the engineer, and several sailors. With a storm gathering, the engineer dies. The clergyman requests an end to the festivities as a mark of respect. Sirsa protests, but her new husband brings the celebration to a halt. The group then fragments into different activities, drunken or otherwise, and the sensual Sirsa directs her attention toward the handsome Ívar (Baldur Trausti Hreinsson). The film's score features traditional folk music.

In ancient Babylon, SEMIRAMIDE (Anderson) encourages her lover Assur (Ramey) to murder her husband, King Ninus. Her son, Ninius, disappears, believed dead, and Semiramide rules in her own right. 15 years later, as the opera opens, she is about to announce the name of her successor. Idreno (Olsen) and Assur are the leading candidates for the throne and the hand of Princess Azema (Shin), but Semiramide has taken a fancy to young Arsace (Horne), her victorious military leader who has been summoned back to Babylon. Only the high priest Oroe (Cheek) knows that Arsace is actually Ninius, spirited away to safety after the coup. As the queen announces Arsace as her successor, the ghost of her husband appears from his tomb, demanding that Arsace punish the late king’s murderers... Filmed at New York's Metropolitan Opera, John Copley's production of Rossini's last, longest and most elaborate dramatic opera brings together what many consider the definitive contemporary cast.

Japanese silent film.

Shifting from one pocket to another, from one man's drama to another, a lowly dollar bill, 'one buck' takes us on an odyssey through the heart of a forgotten town in Louisiana.