Buddies (1989)

A small-time conman has his loyalties torn between his estranged mother and his new girlfriend, both of whom are high-stakes grifters with their own angles to play.

Friends battle former U.S. presidents when they come back from the dead as zombies on the Fourth of July.

A mix of guns and mistaken identity leads to chaos in this satirical parody of William S. Hart's melodramatic westerns, finding Buster in the frozen north - "the last stop on the subway".

In this prequel to the original, a bloody power struggle among the Triads coincides with the 1997 handover of Hong Kong, setting up the events of the first film.

Stranded in Egypt, Bud and Lou find themselves in the buried tomb of a living mummy.

Sergio driving a taxi in a white Naples overflowing sadness and garbage. Pouring rain leads her clients through the city trying to process the death of his brother, who started ten years earlier for Tibet and never returned. A pop singer, a recycler of fragments of life, a radio announcer, an old uncle, alternate seats on its bearing, each in its own way, a trace of his brother loved. Stubborn not to go over and get lost in an endless race, Sergio is overwhelmed by memories and the music produced in pairs with Alfredo, which in Buddhism and in its foundations had found the strength to cope with the disease. Those notes that he believed buried and laid to always return overbearing and demanding a soundboard that resonate and express his being sound. Putting his hand on the piano, Sergio Alfredo feel again, giving the past with the present and realizing itself in the feeling.

The Marx Brothers take on high society and the opera world to bring two lovers together. A sly business manager and two wacky friends of two opera singers help them achieve success while humiliating their stuffy and snobbish enemies.

A pimp with no other means to provide for himself finds his life spiralling out of control when his prostitute is sent to prison.

A photographer takes up newsreel shooting to impress a secretary.

When five Kurdish prisoners are granted one week's home leave, they find to their dismay that they face continued oppression outside of prison from their families, the culture, and the government.