We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.

Has-been director Harry Dawes gets a new lease on his career when independently wealthy Kirk Edwards hires him to write and direct a film. They go to Madrid to find Maria Vargas, a dancer who will star in the film. Millionaire Alberto Bravano takes Maria from Kirk. Count Vincenzo Torlato-Favrini takes Maria from Alberto.

A former boyracer who married his first love and took a job in one of the fish factories, now has a 17 year-old-son of his own following in his footsteps and can no longer ignore the fact he’s going nowhere. Unable to be physically or emotionally present with his family, he takes his son’s car out for one final joy ride and risks losing the love that surrounds him

Aging sidekick Lefty Brown has ridden with Eddie Johnson his entire life. But when a rustler kills Eddie, Lefty is forced from his partner’s shadow and must confront the ugly realities of frontier justice.

A hilarious and heartfelt military comedy-drama co-directed by John Ford and Mervyn LeRoy, Mister Roberts stars Henry Fonda as an officer who’s yearning for battle but is stuck in the backwaters of World War II on a noncommissioned Navy ship run by the bullying Capt. Morton (James Cagney). Jack Lemmon enjoys a star-making turn as the freewheeling Ensign Pulver, and William Powell stars as the ship’s doctor in his last screen role. Based on the 1946 novel with the same name, by Thomas Heggen, and the 1948 Broadway play, written by Thomas Heggen and Joshua Logan. Henry Fonda also starred in the original Broadway production. Warner Bros. didn’t want Fonda to star in the film, as they thought he was too old, and had been a stage player for so long (8 years), that he no longer was box office material. However, John Ford insisted on Fonda and the company eventually agreed.

Based on the life of Keshav Thackeray, an Indian politician who is also known as Balasaheb Thackeray.

Tells the story of the greatest natural disaster of the ancient world, an event that experts believe inspired the legend of Atlantis.

When a career criminal’s plan for revenge is thwarted by unlikely circumstances, he puts his intended victim’s son in his place by putting him in prison…and then joining him.

Florent, a 23 year-old Parisian, meets Alessia, a lost American girl from Texas in the streets of Paris, by random chance. At an important crossroad of their lives – both characters have just graduated from college – Alessia and Florent are torn between the possibilities that lie before them in today’s globalised world and the limitations and responsibilities which come with adulthood in the face of global economic turmoil. Florent dreams of America; Alessia dreams of France, her mother’s unfulfilled wish. Through their interaction with Marion and Louis, Florent’s best friends, Coralie, his ex-girlfriend, and Thomas, a waiter they meet in Normandy, our characters learn about the world they live in. A world that brings them much questioning. A world of their generation.

A group of high school students, led by a rich boy Derek, is sick of school violence and decides to become underground vigilantes named “Brotherhood of Justice”. It starts with the idea “watching people”, but things quickly get out of control. “Brotherhood of Justice” turns out another gang of violence. Derek wants to stop it but it is too late, so he takes responsibility for it and gives himself to the law.

An acclaimed novelist struggles to write an analysis of love in one of three stories, each set in a different city, that detail the beginning, middle and end of a relationship.

A lonely beach on the southernmost coast of Brazil is the scene for two friends, on the brink of adulthood, to explore their understanding of themselves and one another. Martin (Mateus Almada) has been sent by his father to retrieve what appears to be an inheritance-related document from the family of his recently deceased and estranged grandfather. Tomaz (Mauricio Jose Barcellos) accompanies him, seemingly hoping to regain some of their former closeness. The two boys shelter themselves in a glass house, in front of a cold and stormy sea.