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1-12 of 12
- Several ordinary high school students go through their daily routine as two others prepare for something more malevolent.
- A young drifter working on a river barge disrupts his employers' lives while hiding the fact that he knows more about a dead woman found in the river than he admits.
- A friendship between two young men is tested when they go for a hike in a desert and forget to bring any water or food with them.
- Story of the relationship between poets Edward James "Ted" Hughes and Sylvia Plath.
- A young boy from a working class family in post-war Germany struggles with his estranged father returning from war captivity, while a friend of his plays for the German National Soccer Team at the 1954 FIFA World Cup in Switzerland.
- Since the second grade, Brian has had a crush on Drew Barrymore and now 20 years later he wants to fulfill his dream by asking her on a date.
- The action takes place at the turn of the 19th Century. Adolphe (Stanislas Merhar) is a carefree, somewhat jaded 22-year-old, scion of a preeminent aristocratic family, with a very promising political career ahead of him. To Adolphe, love means conquest, and since he is bored, love is a good pastime. At a soirée given by the Count (Jean Yanne) in his sumptuous castle, Adolphe sets his eyes on the beautiful Ellénore (Isabelle Adjani), a young widow, ten years his elder, mother of two children. She also happens to be the Count's mistress. Adolphe falls in love with Ellénore, for lack of a better thing to do. At first, Ellénore resists Adolphe's feverish advances. He insists, becoming an overwhelming presence (and nuisance) in Ellénore's life. Eventually, she surrenders. Soon after, the novelty of this adventure wearing out, Adolphe tries to liberate himself from his new lover, who has become a burden in his life, an obstacle to his freedom. However, he cannot bring himself to altogether sever his relationship with Ellénore, as the idea of making her suffer is to him unbearable. Ellénore loses everything as she tries desperately to "hang onto" her lover: her children, the Count's protection, her status in society. For his part, Adolphe's life is in limbo, as he is unable to break once and for all with his now dying love affair. He offends his father, who demands his return to a more conventional life, and he abhors his own indecisiveness, his inability to end his love affair and regain his freedom. What follows is the fallout of an obsessive relationship: unbearable guilt, accusations, and poison letters of recriminations between the two parties. Eventually this emotional charade ends up in death and misery.
- "In life, we first organize large stones (Piedras) such as love, friendship, family, and a career." In this way, we will find space between these to fit smaller stones, our small necessities. If you act in an inverse way, you will not have the room for larger stones. The five protagonists of my film are women who have not been able to organize the large "stones" in their lives. Ramón Salazar, Spanish director defines his first feature Stones in this way. The film tells the parallel, conflicting trajectory of five women: Anita, Isabel, Adela, Leire, and Maricarmen. All are endeavoring to remove the stones that insistently appear in their path or, worst, that are in their shoes. They are five Cinderellas in search of prince charming and a new chance in life.
- After a bull dies in an arena, its remains are transported throughout Belgium, France, and Spain, where various characters cross its path.
- Pauline is a 'little girl of 66 years old'. She is intellectually disabled and been cared after by her sister Martha. When Martha dies, her two younger sisters, Paulette and Cecile have to make a decision on the best place for Pauline to be looked after. Neither of them is ready to take care of her. Paulette has a shop to look after and Cecile has her Albert. But according to Martha's last will, her fortune will only be divided in three equal parts if one of the sisters looks after Pauline. If they decide to take her to an institution, Pauline will be the only heir.
- Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin's Deutsche Oper, he would serenade the staff after the real performances were over) the diminutive Klaus Nomi headed for NYC in 1972. The vibrant New Wave/avant-garde gestalt of the mid/late '70's East Village proved to be fertile ground for the development of his unique talents. Working by day as a high-end pastry chef, Nomi began to stage his outlandish performances, first launching himself upon an unsuspecting public at the New Wave Vaudeville in 1978. The hip and cynical young audience was stunned by this weird combination of falsetto arias, booming classical orchestration, Kraftwerk-style electronica, futuristic costumes and outer space imagery. An odd assortment of artists, choreographers, designers, songwriters and musicians jumped on to the Nomi bandwagon and the phenomenon began to take off - first attracting thousands to South Manhattan events (including performances at the legendary Max's Kansas City) and culminating in a recording contract with the French division of RCA. With the release 'Klaus Nomi' in 1981 and 'Simple Man' in 1982, it looked as if Nomi was on the verge of superstardom. Having established himself in Europe, he made a triumphant return to New York City. But Nomi's moment of glory proved to be his swansong. Within only a few months Nomi had succumbed to the ravages of AIDS. One of the first celebrities to be killed by this mysterious new disease, Nomi died a lonely death, largely abandoned by those who had seen him as a passport to their own success. Today, the otherworldliness of 'The Cold Song' and 'Dido's Lament' is like an ethereal voice calling from beyond the grave.