The Da Vinci Code has raised questions about religion art and faith across the globe. Now take a 2000 year journey through time to examine the surprising truths and controversial ideas set forth in Dan Brown's worldwide bestseller.
David McVicar's spellbinding production of LE NOZZE DI FIGARO is set in 1830s post-revolution France, where the inexorable unravelling of an old order has produced acute feelings of loss. In the relationship between Finley's suave, dashingly self-absorbed Count and Röschmann's passionately dignified Countess, which lies at the tragic heart of the opera, the sexy ease between a feisty Figaro (Erwin Schrott) and a sassy Susanna (Miah Persson) is starkly absent, the tenacious spark between Marcellina (Graciela Araya) and Bartolo (Jonathan Veira) suggesting what might be rekindled. The production is superbly complemented by the beauty of Paule Constable's lighting and Tanya McCallin's evocative sets. Antonio Pappano conducts (and accompanies the recitatives) with invigorating wit and emotional depth.
Solomon and three friends find an embalmed dead body. Solomon refuses to accept there is anything supernatural in the house. He needs to believe if he wants to save the girl he loves from the ravenous blood spirit he has set free.
A provincial, Julie Moret, is hired as a servant in a Parisian bourgeois residence. She is courted by one of the Bouquinquant brothers, Léon, who does not take long to ask her to marry him. Alas, Léon turns out to be violent, alcoholic and lazy. Faced with her misfortune, Julie gets closer to her brother-in-law Pierre, the opposite of Léon, serious and hardworking, and they become lovers. The drama will rush when Julie becomes pregnant with Pierre.
A voyeuristic journey through the homoerotic work of Alair Gomes.
A resentful entity continues to come back to the Saha World in search of his lost love while battling against the secret guardians of the world. He fails his plan of trying to stay in this world but finds the true solution to his vengeance.
A young buck returns to his hometown after several years' absence, only to see his father shot down in front of him.
Bergman took one of his favourite plays to Copenhagen for a guest performance, which was even broadcast on Danish TV. In his Copenhagen The Misanthrope, Bergman maintained a dual approach. On the one hand, a production of Molière's play as a theatrical game performed in style and intellectually conceived; on the other hand, an exposure, through physical and psychological intensity, of the emotional tragedy in which Alceste and Celemine are both victims. Expectations were high prior to Bergman's production of The Misanthrope. A reviewer wrote, 'For the first time Molière's connection to the Danish stage is intercepted by a director whose forte is physiological tragedy, Strindberg over Holberg'. Many reviews had expected Bergman to put his very personal stamp on the production. Instead they experienced 'a clean Molière' and were struck by Bergman's faithfulness to the original mise-en-scene and to the classical rhythm of Molière's text.
A young girl arrives in Hollywood determined to become a star in the movies but finds that attaining stardom is a lot more difficult than she counted on. However, she does become a star of sorts — as the owner of a dog who DOES become a movie star.
When the mayor of a crime-ridden city and his opponent are both assassinated while seeking election, two FBI agents, John Archer and Mila Driver, reluctantly join forces to investigate the murder only to discover that City Hall holds more secrets than the identity of the killer.
During the EU enlargement negotiations, Danish journalist Christoffer Guldbrandsen accompanied his country's prime minister, Fogh Rasmussen, during the three-month negotiations. What looked like a conventional documentary turned out to be a tangible political scandal: Rasmussen wore an invisible microphone at many meetings and thus "recorded the true opinion of his counterparts behind the scenes". The close-up film ensures "more openness about the background of politics", since not only the official announcements were documented, but also not so statesmanlike statements about problems and people."
Every morning, Pedro carefully prepares coffee for Tiago, but even with all his extraordinary efforts, he is unable to prevent the drink from getting cold.
Fed up with the bullying from their classmates, Jorge and Emilio plan a shooting at their school.