Movies

Grace, daughter of Jim Williams, a ranch owner, and Tom Martin, a Texas ranger, love one another. Buck Miller is the disappointed rival in love. Buck swears vengeance and plans with Delgado, a Mexican outlaw, to capture Grace and her father and hold them for Grace makes her escape and tells Tom and his pals of the outlaws' action.

A short narrative funded by Film Independent, My Dear Americans is about a Sikh woman’s defiant spirit. A recent immigrant to the U.S, Tejpreet is reluctant to embrace her new American identity. In contrast, her husband celebrates everything that mildly reeks of America. On America’s most patriotic holiday, the fourth of July, they have a threatening racist encounter that crushes the Sikh man’s enthusiastic spirit. Witnessing her husband’s devastation, Tejpreet makes a choice against hate and turns the situation around, if only momentarily.

Two friends (Katarina Didaskalou, Stefan Danailov) are separated when their village is divided by Communism, but they meet again 40 years later and begin having an affair.

Yao Hao (Chen Sing), is a young man whose father was assassinated and whose mother was killed in an attack on the funeral procession. He survives the attack and winds up at a Shaolin temple where he insists he wants to stay and become a monk. His beautiful fiancée (Lu Shu Chin) pleads with him to come back with her, but he refuses. The head monk, Brother Fa (Chan Wai Man), an orphan who's been at the monastery all his life and is expecting to succeed the current Shaolin Abbot, is jealous of the privileges Yao Hao has had in life and asks him questions about the outside world, including what it's like to touch a woman. Brother Fa's weakening resolve soon finds him leaving the monastery and falling into the clutches of Lord Eagle (Kam Kong), the Manchu ruler in the area who's trying to wipe out all resistance to Manchu/Ching rule.

An expedition enters an unexplored jungle to search for a legendary ruby.

When decorated soldier Captain Colter Stevens wakes up in the body of an unknown man, he discovers he's part of a mission to find the bomber of a Chicago commuter train.

With music by Duke Ellington, Harold Arlen, Dorothy Fields and more framed by the poems of Langston Hughes, this exhilarating song and dance extravaganza features 28 of the big band era’s most memorable songs and showcases the gorgeous glamour and sophisticated syncopation of the Harlem heartbeat after midnight.

A tragedy played in standard cops and robbers costume. A policeman faced with deep moral choices finds that once he's set foot on the path of corruption he is trapped by an ever more complex web of lies and intrigue. A lifetime of personal honour is at stake and we wonder if redemption is possible.

In the late 18th century a small English village is haunted by ghostly apparitions. Sir Timothy Hassall, accompanied by his friend Gideon Cole, investigate.

No overview available.

Memories of a Machine explores sexuality through human morals and instincts as a woman narrates her early sexual experience as a curious young girl and her quirky struggles of finding "self" amid a traditionally bound system.

No overview available.

A man struggles with the health care system and his own feelings of guilt when he checks his 100-year-old, estranged mother into Gateway TransCare -- a memory care facility that uploads elderly minds into computer data banks.

In this Crime Does Not Pay series entry, John Jones is an up and coming businessman who drinks too much but denies he has a problem. One day he mixes drinking and driving, and the tragic consequences hit very close to home.

Mickey Rooney, plugging his latest Columbia film, stops by Ralph Staub's editing room and film vault, and the two of them watch clips from Rooney's films, dating back as far as the Mickey McGuire comedies.

After a mobster agrees to cooperate with an FBI investigation in order to stay out of prison, he's relocated by the authorities to a life of suburban anonymity as part of a witness protection program. It's not long before a couple of his new neighbours figure out his true identity and come knocking to see if he'd be up for one more hit—suburban style.

In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane's parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means 'wrong road'. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane's youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction,

Besieged by writer’s block and the crushing breakup with Tessa, Hardin travels to Portugal in search of a woman he wronged in the past – and to find himself. Hoping to win back Tessa, he realizes he needs to change his ways before he can make the ultimate commitment.