Yvette is the daughter of a courtesan who serves men of wealth and status. She is unaware of how her mother makes money and why they are always in the presence of princes, dukes and barons. Only when Yvette goes away on a holiday she realizes that the Banker Saval is engaging her mother in such activities, she suddenly feels dirty.
The Spijkerbergs are an absurdly rich family, but they are also richly absurd. The father – a foolish, hotshot financier – collects miniature dioramas of historical atrocities as a hobby. Mother is a has-been prima donna fighting against the vagaries of age and fame. Inheriting their privilege and casual cruelty is daughter Amy, a rebellious if somewhat insular teenager longing to break out of her gilded cage. To gain a semblance of control over her cocooned existence, Amy produces an autobiographical mock-Kabuki performance that parodies her family.
A young boy, unable to speak, befriends a wild colt with blue eyes and a falcon named "Lady".
Set in Tokyo in 1998, three 19-year-old time patrollers are dispatched to take part in time travelling vampire hunting.
Rue du retrait is a film which is quite unique to René Féret for various reasons.Firstly,it is a film which he shot in his own area,near his own house.Rue de retrait is the name of the street in 20th arrondissement in Paris where Mr.Féret stays.So in a way the location afforded a lot of familiarity in terms of location to the cinéaste. Secondly,the making of this film will always remain a miracle of sorts for René Féret as no big production house was willing to finance such a brave,absolutely uncommon film in France.So this film was finally made due to René Féret's personal intervention and highly individual efforts. Its visual style was applauded by a great French filmmaker named Bertrand Tavernier who has long been one of René Féret's admirers.
The big bad wolf is hungry and thinks lamb-chops would fill his need, so he puts the a snatch of a couple of Uncle Blackie's fleecy-white nephews. Uncle Blackie takes offense at this and dispatches the wolf and rescues his little kinsmen. This minor setback has not diminished the wolf's appetite for lamb, so he disguises himself as Little Boy Blue and sets out once again to get a lamb-dinner.
Jim Natter, the leader of a violent Kuk Klux Klan lodge, is shot dead. His teenage son Eric Natter is found nearby, and taken into police custody for his protection pending the investigation. While four cops drive him to a safe-house, they are ambushed. Three of them shot dead, including Deputy Lawrence, and his black partner Jerry Robinson is accused of the murders.
Andrea visits deceased painter Arganti's house to investigate his cursed pantings of the crying kids, among them The Crying Boy.
Three youths that don't know each other get together to spend their last 12 hours before coming to their End.
After Raja's poultry business suffers a huge loss, he decides to search for a job. In the process, he meets a wealthy woman and falls in love with her.
With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty's Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting '80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture. Discounting the importance of reproducing facts and historical accuracy, Dougherty gives an incisive reading of the creation of pop culture icons: it doesn’t matter who plays John Lennon because ultimately John Lennon is not a person anymore. As a star, he is a projection of our society’s collective needs and desires.
A deputy with higher political aspirations is annoyed that, as visitors come to see him, his wife insists on staying in her nightie because it is such a hot day.
Ignacio embarks on a trip driven by the coincidences that bring together the news that his young girlfriend is pregnant and an invitation to a seminar in Chile almost simultaneously.
A body conscious photographer, Adrian, concocts a scenario in which he attempts to project his insecurities onto those who mock him. Hired by Adrian, his professed muse Mira and five other girls begin to question who is using who when it becomes clear that the not so normal mind of the photographer himself isn't all the girls have to worry about.
Bety was Diana's childhood friend. They grew up together, attended the same school, share the same friends. But Bety is in prison now and Diana wants to understand how her friend got there, so she decided to make a documentary about her friend.