

Simon transports illegal immigrants to New York, leaving them to their fate. He is discovered by the coastguard and Andrés, a young sailor, saves his life. When he falls for a young protegée of Simon conflict erupts.Read More »


Simon transports illegal immigrants to New York, leaving them to their fate. He is discovered by the coastguard and Andrés, a young sailor, saves his life. When he falls for a young protegée of Simon conflict erupts.Read More »


The filmography of John Ford, most specifically his westerns for which he is arguably best known, is presented, those movies which largely made western stars out of John Wayne and James Stewart as two sides of the hero or antihero as the case may be, but also the majestically beautiful landscape of Monument Valley. The films are discussed as a reflection of him as a man – which is arguably the best representation of him as he was a highly private man who often answered evasively or flippantly in interviews, even about his work – and as a commentary on or his hope for American society. That hope largely was for a better world for the disenfranchised, especially the ethnic minority with Native Americans the usual stand-in as ubiquitous to the genre. Those movies in relation to politics, either his own are that of others who want to capitalize on very specific messages, is also discussed. As an interlude to his Hollywood life, his military service in WWII where he used his filmmaking.Read More »


Ichiko is a care-giver and a nurse. She provide home-care to the Oishos’ elderly woman and is almost considered part of the family as she visits and performs her tasks routinely. What is more, Ichiko is helping Oisho Motoko to also become a care-giver and potentially replace her one day. The two have become close, which is useful when Motoko’s sister Saki disappears. She is returned safely one week later, but the kidnapper is too close to homeRead More »


The year is 1981, the German New Wave is at the peak. Harry, otherwise Sparkasse trainee, wants to make it big as a manager of the band of his friends, Apollo Schwabing. He has booked the band as the opening act for a concert where the group DAF are the headliners.Read More »


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It was the movie that stunned audiences, shocked the MPAA and marked the debut of one of the most uncompromising filmmakers in modern horror. Golden Globe winner Dylan McDermott (The Practice) stars as a post-apocalyptic scavenger who brings home a battered cyborg skull for his metal-sculptor girlfriend. But this steel scrap contains the brain of the M.A.R.K. 13, the military’s most ferocious bio-mechanical combat droid. It is cunning, cruel and can reassemble itself. Tonight, it is reborn….and no flesh shall be spared. Stacey Travis (Ghost World) co-star – along with appearances by Iggy Pop, Lemmy of Motorhead and much by Ministry and Public Image Ltd. – in the kick-ass sci-fi thriller from Richard Stanley (Dust Devil) that Fangoria calls “gritty, trippy and frightening….Hardware is one of the best horror movies you’ve never seen!”Read More »


It is a hot and muggy summer’s day in Näsviken, a small community at the edge of logger country Sweden. Barely surviving, the run-down hostel has been turned into housing for alcoholics in the county. In the midst of this, a young woman spends her days.Read More »


Thirteen-year-old fledgling writer Briony Tallis irrevocably changes the course of several lives when she accuses her older sister’s lover of a crime he did not commit.Read More »


Three French conscripts with diverse political motives, are sent to a disciplinary battalion in the midst of the Algerian war. Major Lecoq is to build an elite unit with these wayward soldiers who are exposed to war, torture and death.Read More »


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Based on the struggle of young people in Goma (Northeastern Congo) against the prevailing Western reporting about war and misery, Stop Filming Us investigates how these Western stereotypes are the result of a skewed balance of power. Stop Filming Us creates a cinematic dialogue between Western perceptions and the Congolese experience of reality. While the Congolese perspective becomes increasingly clearer in the film, questions arise about the perspective of the film itself; is a white director able to make a film about the new Congolese image or is it primarily a story created by his own Western perspective?Read More »