H.O. (1967)

After his grandfather's death, a man travels with his wife and kids to his hometown, where chaos ensues with his relatives over the inheritance.

A music journalist accompanies her father, a charmingly stubborn Holocaust survivor, on a journey to his homeland. While she's eager to make sense of her family's past, her dad has an agenda of his own.

Thomas is a meek man on the verge of a nervous breakdown. Despite his situation he decides to fake a work trip to go to Vallarta to confront Jero, a taxi driver who is sleeping with his wife.

The film tells futurist, architect, and inventor R. Buckminster Fuller's incredible story through two teens hoping to get laid, become punk gods, and survive high school.

A fashionable contemporary art gallerist in Chelsea, New York falls for a brooding new music composer in this comic satire of the state of contemporary art.

A 16-year-old girl takes her parents hostage after they miss her big jump-roping competition.

Tomás Tomás is a young yuppie playboy with a string of discarded girlfriends. But when Silvia, the victim of one of his adventures, tries to get revenge by typing "positive" on his AIDS test, Tomás experiences for the first time the realities of love and death.

A young filmmaker in 1960s Paris juggles directing a cheesy sci-fi debacle, directing his own personal art film, coping with his crumbling relationship with his girlfriend, and a new-found infatuation with the sci-fi film's starlet.

Gloria is a 58-year-old divorcée. Her children have all left home but she has no desire to spend her days and nights alone. Determined to defy old age and loneliness, she rushes headlong into a whirl of singles’ parties on the hunt for instant gratification – which only leads to repeated disappointment and enduring emptiness. But when Gloria meets Rodolfo, an ex-naval officer seven years her senior, she begins to imagine the possibility of a permanent relationship.

Lewis, a young amateur theater director, is offered a job with a governmental program for the rehabilitation of mentally ill patients in a Sydney institution. His project is overrun by one of the patients, who wants to stage the opera Cosi Fan Tutte by Mozart, despite the fact that none of the patients can sing or speak Italian. A comedy of errors ensues, but one which unifies the patients and their director in unexpected ways.