The film takes place in Tel Aviv, much of it in a fictitious local pub called Barbie, a satirical nickname for a famous Israeli mental health institution. The pub's name hints at the characters and the events which occur in the pub and which befall its owner (Daliah), the employees and customers. The plot unfolds with a streak of violence which takes a surprising turn.

Belgian filmmaker Chantal Akerman lives in New York. Filmed images of the City accompany texts of Akerman's loving mother back home in Brussels. The City comes more and more to the front while the words of the mother, read by Akerman herself, gradually fade away.

An old prince lives in his ancient palace in Rome together with the ghosts of his ancestors. For years he has proudly rejected huge offers by a real estate group seeking to buy the palace and build a department store in its place, but when he suddenly dies his nephew signs the deal. The palace seems lost, but the ghosts forge a plan to save it from destruction.

80-year-old Thomas recounts his childhood and middle age through a series of flashbacks and dream sequences. Thomas believes he’s been taken away from a better life at birth; following a hospital fire, he vividly recalls being swapped with another new-born, and subsequently grows up in a poorer neighbouring household.

Som ung får Karla (Ingrid Bergman) et barn med Serge (Anthony Quinn) i den lille landsby, de begge bor i. Serge nægter at være faderen og smider Clara på porten. Mange år senere dukker hun op i landsbyen igen, som intet mindre end verdens rigeste kvinde og fuld af had til manden, der svigtede hende. Hun tilbyder indbyggerne en stor sum penge for at slå Serge ihjel. Efter nogen tøven går de ind på forslaget, og Serge synes at være dødsdømt.

After a surprise phone call interrupts his daily workout, beefy body builder Naoto agrees to meet his photojournalist ex-girlfriend to help with her research on haunted houses. Accompanied by a professional psychic, they visit an abandoned house once owned by Naoto's father. But inside the house a dark secret lingers and they find themselves trapped and tormented by a relentless ghost with a 30 year grudge.

Bill Miller is an unsuccessful Broadway performer until his handlers convince him to enhance his act with a stooge—Ted Rogers, a guy positioned in the audience to be the butt of Bill's jokes. After Ted begins to steal the show, Bill's girlfriend and his pals advise him to make Ted an equal partner.

Mel Brooks går ikke af vejen for at parodiere selv de største mestre, som nu f.eks. Alfred Hitchcock i High Anxiety. Titlen antyder noget med højdeskræk og rigtig nok: historien tager sit udgangspunkt i Vertigo og beretter om en direktør for en "psykonerurotisk" anstalt, der svimler, blot han stiller sig op på en taburet. Men der er også masser af skægge hentydninger til berømte scener fra andre Hitchcock-film.

Dorothy Stratten er ung, naiv og meget smuk. Hun har noget ganske særligt, mener Paul Snider, der straks ser et potentiale i den underskønne pige. Han kan gøre hende berømt, og hun kan gøre ham rig, hvis blot hun bliver månedens Playmate i Playboy. Men efterhånden som hendes karriere tager fart, bliver Paul Sniders jalousi forvandlet til en livsfarlig besættelse.

I 1920ernes Rusland leder en præst, en tidligere nobelmand og en svindler efter 12 stole, som tilsammen indeholder en skat skjult under revolutionen.

Zach Riley is a psychiatrist, who leaves a job at a prestigious university, to take up a job at the privately run mental institution, Millwood. What he doesn't reveal at the time of his appointment is that this was the very place where his novelist father, T.L. Pierson, spent many years of his life.

Broadwayproduceren Max Bialystock har en plan. Sammen med revisoren Leo Bloom vil han sætte et stort stykke op, som forskellige investorer skal skyde en masse penge i. Ved at hyre en masse dårlige skuespillere håber Max at stykket går fallit og at han så kan stoppe alle investorernes pengene i egen lomme. De to beslutter sig for musicalen 'Springtime for Hitler and Germany' for at realisere deres plan.

China, 1930s, during the ravaging civil war. General Pen entrusts O'Hara, an intrepid American adventurer, with the mission of providing a large sum of money to Mr. Wu with the task of buying weapons in Shanghai to help end General Yang's tyranny that keeps an entire province under his ruthless iron boot.

Mystery abounds when it is discovered that, one by one, the greatest Chefs in Europe are being killed. The intriguing part of the murders is that each chef is killed in the same manner that their own special dish is prepared in. Food critics and the (many) self-proclaimed greatest Chefs in Europe demand the mystery be solved.

Maria Grazia and her children Michele and Carla are left without a livelihood. Maria Grazia's money-hungry lover Leo develops a plan to take the last property from the family - the attic in which they live. Michele tries to thwart Leo's plans, but when his attempts fail, young Carla takes over.

Two nasty characters try to take advantage of an ageing land-lady, all but taking over her house until she has had enough and takes her revenge.

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

A man walks down the exterior staircase of building of flats; he's dressed to go out, taking care to wrap a scarf around his neck. He pauses as he passes a small window that's about eye high. He ventures to look in, and there a young woman stands at a washbasin, drying her hair,

She’s the most beautiful, most short-sighted, most sentimental, most perplexing, most obstinate, most untrustworthy and most troubling of heroines. The lady in the car has never seen the sea. On the run from the police, she keeps telling herself that she’s not crazy… Only...