JC (Alexander Polli) is a B.A.S.E. Jumper, a global playboy who lives his life quite literally on the edge, pursuing man’s greatest dream – to fly. When a jump goes wrong, that dream is violently shattered. Haunted by the event, JC is drawn to his best friend’s lover, ASH (Julie Dray), as he pushes himself harder than ever before – flying lower, closer, faster and recording every moment on film. Soon JC’s dark descent threatens not only his own life but the lives of all those around him. BASE follows a man over the edge and watches him fall.

A stubbornly traditional eighty-year-old farmer — whose social attitudes verge on the prehistoric — raises hell when he is forced to move in with his sadsack, city-dwelling son and domineering daughter-in-law, in this hilarious social satire based on the wildly popular novel by Finnish author Tuomas Kyrö.

It was Leonora Eames’ childhood dream come true. She had married Smith Ohlrig, a man worth millions. But her innocent dream became a nightmare once she realizes the truth about her husband – he is power mad and insane! Since he will not grant her a divorce, she leaves her life of luxury on Long Island and goes to work as a receptionist in an impoverished doctor’s office in NYC’s lower east side. After Smith deceives her into a temporary reconciliation, Leonora becomes pregnant. By the time she realizes she is expecting, she and one of the doctors, Larry Quinada (James Mason), have fallen in love. But she is again lured backed to her wealthy husband to give her child financial security. Her sadistic husband is hell-bent on keeping her and her child prisoner. What will happen to Leonora?

A young reporter and his niece discover a beautiful and enchanting creature they believe to be the real little mermaid.

Prem Prakash Tiwari (Ayushmann Khurrana) listening to Kumar Sanu is the film’s opening shot. Set in Haridwar, 1990s, the film captures the nascent feel of the town. Prem owns a cassette shop in the local market. His father is keen to get him hitched and the family goes to a local temple to meet Sandhya (Bhumi Pednekar). B.Ed, waiting for a teaching job, the most visible thing about her is her weight. Coming from a patriarchal cognitive set-up, she doesn’t fit the quintessential idea of beautiful. And still, the school drop out Prem must marry her because he is incapable of attaining a girl with ‘Juhi-Chawla-level-of-looks.’ In an elaborate community-wedding ceremony, Prem and Sandhya get married. Their wedding night is uncomfortable with neither treading towards establishing conjugal relations. Prem has in his own reasons and the girl is naturally shy. Next morning on a call, she announces it to a friend and the whole family finds out

After years on the road establishing his reputation as Japan’s greatest fencer, Takezo returns to Kyoto. Otsu waits for him, yet he has come not for her but to challenge the leader of the region’s finest school of fencing. To prove his valor and skill, he walks deliberately into ambushes set up by the school’s followers. While Otsu waits, Akemi also seeks him, expressing her desires directly. Meanwhile, Takezo is observed by Sasaki Kojiro, a brilliant young fighter, confident he can dethrone Takezo. After leaving Kyoto in triumph, Takezo declares his love for Otsu, but in a way that dishonors her and shames him. Once again, he leaves alone.

A young man disappears amid talk of violence and demagoguery, leaving behind an obscure cache of letters, postcards, and notebooks.

Ada, a reserved young woman with a passion for entomology, travels north with Marissa, her free-spirited musician girlfriend. She’s finally meeting the three brothers who helped raise Marissa: the paternal Ozzie, sensitive Arthur, and wild child Wren. As Marissa and her kin settle into their familial dynamics, Ada finds herself on the outside looking in. Desperate to make a good impression over the course of a weekend packed with fun and frivolity, Ada instead struggles to find common ground, opening fissures in the one relationship she needs the most.

When 21-year-old Ashley Beck-Ford finds her biological mother, Sara Hillman, online, she is shocked and thrilled… But building a relationship with her long-lost mother proves to be more dangerous than Ashley could have ever imagined. Soon after meeting her, Sara’s husband is murdered. Ashley soon finds herself caught in a web of lies and deceit in which she isn’t sure if her mother is innocent or guilty of that murder

Stevie is a sweet 13-year-old about to explode. His mom is loving and attentive, but a little too forthcoming about her romantic life. His big brother is a taciturn and violent bully. So Stevie searches his working-class Los Angeles suburb for somewhere to belong. He finds it at the Motor Avenue skate shop.

A trainer attempts to retrain a vicious dog that’s been raised to kill black people.

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.