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.
American soldiers undertake a mission to capture a Japanese admiral who has survived an air crash in China during WWII.
Rintaro (Sometani Shota) returns home for the first time in a while to prepare for and attend his father's funeral. He and his sister are surprised to find that their mother has canceled the catering order, and instead will be making the food herself in accordance with her late husband's will. The first dish she brings out is simply sunny side up eggs, and the attendees are at a loss. Rintaro recalls that this was the first meal his father had cooked for him and his sister.
The "Tango Bar" is the fashion of the moment. The city's party-goers have chosen the small, cozy, intimate local venue for the night's wee hours. Gaby Grant is an ideal hostess who knows how to get guests to forget the day's sorrows and troubles - and knows how to get them to pay.
In the early 1970s, two killers pick up a girl in a bar and take her back to their apartment. A moment of brutal violence occurs, which leads to a series of mind games to see who lives and who dies.
The story of a courtesan that was once popular in Yoshiwara. She is good-looking, but for some reason, three of her customers died unnaturally, one after another. As a result, she is feared by potential customers, and no one cares for her...
Original 1973 short promotional documentary on the making of the 8th James Bond movie Live and Let Die (1973).
Sous un ciel changeant. Jean-Claude Rousseau uses his signature black frames to create Durasian elisions between painterly, Corot-conjuring tableaux.
A centuries-lasting relationship between Ayesha and her oft-reincarnated true love. She, H. Rider Haggard's fanciful novel about the immortal queen of a lost tribe, has been filmed at least 10 times, with seven versions emerging between the years 1910 and 1930.
Documentary about the architectural evolution of Paris.
An undercover agent uses his rare personality disorder in pursuing the drug-cartel leader responsible for the deaths of his wife and kids.
A group of young people draws straws to see who'll steal some cigarettes. With this theft, Sebastian starts a bizarre, symbolic odyssey through a sclerotic world, in search of himself and of truth and justice. When he tries withdrawing from one social paradigm, he finds himself caught in another.
"Seven Women", Thome's third film in the trilogy "Formen der Liebe" (Forms of Love) is a type of modern fairy tale. Hans Hummel (Johannes Herrschmann) abandons a South Sea paradise and returns to his old homeland to trace his deceased father's path in life. His father has not only bequeathed him a large house and valuable documents, but also a type of treasure map in the form of a computer with the corresponding program. While he is involved in this treasure hunt game, he meets up with seven women - the family in the neighbouring house, who support him both in a business as well as in a personal sense. But instead of delighting in his new found wealth, he trades money, gold and millions for happiness - just like in a fairy tale.
A rich woman's personal secretary borrows an expensive piece of jewelry without permission for a night on the town... and then loses it. Based on a story by Guy de Maupassant.
Rabbi Benjamin Murmelstein (1905-1989) was head of the Jewish Council of the artificial ghetto of Terezín (Theresienstadt in German). The Nazis made him representative of the community destined for extermination. Victim of a tragic contradiction, after the Liberation he was tried and absolved from the accusation of collaborating with the Nazis; he moved to Rome, where he was ostracized by the Jewish community until he died. His son Wolf devoted his life to redeem his image, trying to paint a more complex picture of the role his father played in Terezín. The film reconstructs through the conversation between Wolf and the psychoanalyst David Meghnagi a son's relationship with the memory of his father, between the acceptance, the denial, and the thematization of a common and familiar tragedy.
The purpose of this film isn't entirely known but I suspect it's targeted at the parents with a mentally disabled child who want to educate her about menstruation. It shows what's likely a real family in which the youngest girl has down syndrome discussing periods and the older sister demonstrating the correct use of a pad.
Shelia, an environmentalist venturing into the deep sea to capitalize on the billion-dollar plastic industry encounters deadly enhanced sharks. She wants revenge… it wants blood.