Roy Parmenter is an FBI agent in San Diego; 20 years ago his partner was killed by a Soviet spy, nicknamed Scuba, still at large. Scuba is now trying to extort the Soviets; to prove he’s serious, he’s killing their agents one by one, including “sleepers,” agents under deep cover awaiting orders. Roy interviews a high school lad, Jeff Grant, an applicant to the Air Force Academy. In a routine background check, Roy discovers that Jeff’s parents are sleepers. He must see if Jeff is also a spy, confront the parents yet protect them, and catch his nemesis. Meanwhile, the Soviets have sent their own spy-catcher, the loner Karpov, to reel in Scuba. Alliances shift; it’s cat and mouse.

Weighed down by his deadbeat father and unrelenting financial debts, Joss is forced to sink deeper into a criminal underworld to escape his burdens. As the line between his two lives thins, Joss frantically begins constructing an escape from his sins he commits before they swallow him whole.

In a little Sicilian village at the edge of a forest, Giuseppe, a boy of 13, vanishes. Luna, his classmate who loves him, refuses to accept his mysterious disappearance. She rebels against the silence and complicity that surround her, and to find him she descends into the dark world which has swallowed him up and which has a lake as its mysterious entrance.

A journey of a Korean girl who wanders around Europe to find her boyfriend.

Directed by Martin Davidson and Stephen Verona, The Lords of Flatbush is a low budget film starring Perry King, Henry Winkler and Sylvester Stallone (who also wrote additional dialog). Set in the late 1950s, the coming-of-age story follows four Brooklyn teenagers known as The Lords of Flatbush. The Lords chase girls, steal cars, play pool and hang out at a local malt shop. The film focuses on Chico (King) attempting to win over Jane (Susan Blakely), a girl who wants little to do with him, and Stanley (Stallone), who impregnates his girlfriend Frannie, who wants him to marry her.

In 1922, an Irish rebel informs on his friend, then feels doom closing in.

A teenager (Pat Boone), recently in trouble with the police, is sent to live with his aunt and uncle on their Kentucky farm in order to rediscover life’s values. Director Henry Levin’s 1957 musical remake of “Home In Indiana” also stars Shirley Jones, Arthur O’Connell, Jeanette Nolan and Dolores Michaels.

Two strangers – Brittany and Laurent – end up in the same cabin in the woods due to the landlord accidentally double booking his property. Both wanted to escape society in order to deal with their personal circumstances.

An archaeologist discovers that aliens posing as government officials are secretly harvesting human bodies in a bid to take over earth.

Four Lions tells the story of a group of British jihadists who push their abstract dreams of glory to the breaking point. As the wheels fly off, and their competing ideologies clash, what emerges is an emotionally engaging (and entirely plausible) farce. In a storm of razor-sharp verbal jousting and large-scale set pieces, Four Lions is a comic tour de force; it shows that-while terrorism is about ideology-it can also be about idiots.

The film is a coming-of-age story of a young boy named Apu, and life in his small Indian village in the early years of the 20th century. Apu is born to a poor Brahmin family in Bengal. His father Harihar is a priest who dreams of becoming a successful poet and a playwright; he does not earn enough, but the mother Sarbajaya keeps the family going. Because of their limited resources, Sarbajaya resents having to share her home with Harihar’s elderly cousin: the old and helpless cripple Indir. Apu’s sister Durga is always getting into trouble for stealing guavas from the neighbour’s orchards for Indir. She cares for Apu like a good older sister but loves to affectionately tease him. Together, they make do with what they have and enjoy the simple joys of life.

AJ Manglehorn is an aging, ordinary guy in a small town. He nurses his sick cat, squeezes out a conversation with the local bank teller every Friday, and eats at the same place every day. But there is more to Manglehorn than meets the eye: he’s an ex-con who, 40 years ago, gave up the woman of his dreams for a big ‘job’. He now obsesses daily over the choices he made. After a dramatic effort to start over, Manglehorn faces a terrifying moment and is unmasked as a guy with a very, very dark past.