A man’s family brought back from the verge of death, he then discovers he can identify people who are about to die.

For generations the Zhao family has wielded power, until their mortal enemy TU’AN GU slaughters the entire clan, determined to wipe out their influence forever. But one Zhao baby survives hidden by CHENG YING the doctor who delivered him. When Tu’an Gu learns of the baby’s escape he seizes every infant in the city, vowing to kill them all unless the Zhao baby is surrendered. As the tyrant’s soldiers arrive at Cheng Ying’s home the frantic doctor hides his wife with their own baby whilst surrendering the Zhao child as his own. But his family is discovered; his baby is presumed to be the Zhao heir and murdered along with his wife for harboring the infant. Now set on revenge Cheng Ying enrolls the Zhao orphan into the service of the Tu’an Gu household, plotting to use him as an instrument of vengeance when he comes of age.

Erstwhile C.I.A. assassin Richard Malone hopes for a tranquil retirement in the placid Pacific Northwest, but what he gets is a rumble with a right-wing extremist plotting a secret revolution. Adapted from the novel “Shotgun,” by William Wingate.

Jackie Cogan is an enforcer hired to restore order after three dumb guys rob a Mob protected card game, causing the local criminal economy to collapse.

Wind From the East is a product of Jean-Luc Godard’s involvement, during the late 60s and early 70s, with a collective filmmaking experiment known as the Dziga Vertov Group. The film is, typically of the films he made during this period, about ideas and simultaneously about how best to express those ideas through the medium of film. The film deals with the situation of a strike and, during its first half, methodically analyzes the different components of the strike: the workers, the radical students who encourage the strike while not quite being able to communicate in the same terms as the workers, the union delegates and other middlemen who preach moderation and compromise, the employers who demand the immediate resumption of work, the police state that suppresses the strike on behalf of capitalism.

Young married couple Rie (Tomoyo Harada) and Sang (Yo Oizumi) move from Tokyo to Lake Toya in Hokkaido Prefecture to start a bakery restaurant named Mani. Sang bakes bread and his wife Rie makes food that complements the bread. Spring, Summer, Autumn and Winter, the customers leave in a happy state.

Sybille, a divorced mother, who refuses to accept that her 18-year-old son, Samuel, is sinking into violence. Prey to her own past and present demons, she decides to take Samuel on a long trip to Kyrgyzstan. Accompanied only by their two horses, mother and son go on an adventure where they will face the dangers and surprises of nature, which is spectacular, hostile and beautiful. Beyond encounters with the Kyrgyz people, the trip will provide the opportunity for an inevitable confrontation…

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A teenage girl who feels she must always seem happy for her parents and friends secretly binges and purges.

The movie takes place in the three days leading up to Lennon’s murder and is intended to be an exploration of Chapman’s psyche, without putting substantial emphasis on the murder. The title “Chapter 27” suggests a continuation of J.D. Salinger’s novel The Catcher in the Rye, which has 26 chapters, and which Chapman was carrying when he shot Lennon. Chapman was obsessed with the book, to the point

The story of Rubin “Hurricane” Carter, a boxer wrongly imprisoned for murder, and the people who aided in his fight to prove his innocence.

After ten years, Sheldon returns from New York City to Paris, Georgia. His mother Evelyn, a laundress who is stubborn, ornery, opinionated, mean-spirited, insulting, and inflexible, has sent a ten-year-old boy who says he’s Sheldon’s son up to see Sheldon. Sheldon comes home to straighten things out. Old arguments flare up – between mother and son and between brothers. Sheldon wants no part of fatherhood or family. Then, someone else from New York shows up at Evelyn’s door, bringing a new set of challenges. Will this family ever stop airing its dirty laundry? And what of Sheldon: where is his pride? Can he, in the words of James Baldwin, go where his blood beats and live the life he has?