A woman facing eviction just before Christmas who must navigate budding romantic feelings for a handsome billionaire when she takes a job nannying for his two children right before Christmas.
Composed from footage found in the Imperial War museum, London, of Hitler Youth in full swing.
There are eight episodes in stories full of adventure and play in the neighborhood of Limoeiro, with a new car ride, lost treasure, art exhibition in the square, puppet theater, an unexpected escape from Cascão (again?), Characters Saltimbancos and a lot more.
Een man loert door de nachtelijke steegjes en vermoordt willekeurig mensen. Hij voelt niets, geen emotie en geen pijn; Wanneer hij een gracieuze weduwe ontmoet, moet hij onder ogen zien wat het betekent om mens te zijn.
Pathe News technicolor korte film waarin The Beatles te zien zijn tijdens een concert in de ABC Cinema in Manchester, Lancashire op 20/11/63. Deze beelden werden verwerkt in de Pathe-film 'Pop Gear' uit 1965.
The Wildest Show in the South: The Angola Prison Rodeo is a 1999 American short documentary film directed by Simeon Soffer. It focuses primarily on the inmates experiences in the rodeo. For a lot of those prisoners, the rodeo seems to be the only thing they have to look forward to. It was nominated for an Academy Award for Best Documentary Short.
Breakaway plays out like a visual symphony. A prototype for the best (but still, lesser) contemporary formalist music videos, like Peter Care’s “What’s the Frequency, Kenneth?” and “Drive” (both for REM), Conner’s movie is an experiment in the visual language of film. But no matter how powerful a formal analysis of his filmmaking process may be in suggesting how Conner’s rhythms affect us, there is much in Breakaway – in Basilotta’s brash and unbridled self-assertiveness, in Conner’s feverish camera style, and even in the uncomplicated honesty of Cobb’s catchy lyrics and tune – that defies verbalisation… and must simply be loved! -- Senses of Cinema
A car tells its story and the story of its seven owners during the years of the Third Reich.
It is a comedy about a young couple – Charlie, a news editor on a private television station, and Dana, the TV owner's secretary. Their story is intercepted by the reality news idea of Slobodan, the owner of the television station where both of them work. Slobodan is in a hurry to start the reality as soon as possible because he owes money to a tycoon and time is running out, and trashy programs generate quick profits. Charlie is reluctant to support Slobodan's idea but Slobodan convinces him it is what the viewers want. Although Slobodan is confident that his idea will generate the needed cash, the tycoon loses his patience. While Slobodan leaves the TV building, two masked men kidnap him and drive off in a van. That is when the twist happens.
A troubled young woman hooks up with a money-crazed televangelist and becomes a rich, heavy-metal Christian rock star.
A father and son living in a tyrannical polluted city-state are planing to escape to the free green city that is depicted in some propaganda leaflets air dropped by the other city's army.
Waif mouse Jerry, encrusted with snow, peers through a warmly lit window at Tom asleep by the fire in a room full of cheese.
Een Amerikaans echtpaar brengt hun 10-jarige dochter Claire naar het hotel van haar grootvader Lawrence in de Dolomieten, Italië. Meestal komen ze met Kerstmis, maar dit jaar is het augustus. Feit is dat ze uit elkaar gaan, en zodra Claire zich realiseert dat er dit jaar geen familie kerstmis zal zijn, staat ze erop dat iedereen in augustus naar Kerstmis komt. Claire plant, in samenspraak met haar grootvader, activiteiten die bedoeld zijn om haar ouders te herenigen.
The head of a gang of criminals in Arizona tries to kidnap a girl, but is hindered in his intentions by a handsome mining engineer and a federal sheriff.
It is one of the earliest of the gay films after Stonewall, and one that refused to see touch, affection, and sensuality only in pornographic terms. The films final scenes use footage filmed in the St. Chapel, Paris, and connect the sensual with the spiritual. The patterns of movement and the inter-cutting align the film to dance.
At the peak of his success a drugdealer starts to ask himself if it all was worth it. After hearing a loud knocking on his door he has to admit he already reached the point of no turning back.