Alexis Tae is having her girlfriend, Alison Rey, stay over for the night. However, Alexis's two stepmoms, Syren De Mer and Rachael Cavalli, have a lot of rules. Alexis says she's sick of her stepmoms being so strict, but Alison assures her that she's looking forward to meeting them. Three stepsisters (Jane Wilde, Maddy May, Maya Woulfe) are shocked by the cost of raising a family and are filled with admiration for their single stepmom, Penny Barber. They want to give her something special, but they're not sure what they could possibly offer. This is Our Way of Saying Thanks!
Three friends are arrested after committing an accident with their car. After finishing their sentence, they become partners with the owner of a decoration workshop. But he deceives them and spends the money in gambling. They force him to sign a waiver of his workshop but he wants to get it back.
Spring is in the air and Puck and Einar, as well as Christer Wijk are invited to a wedding in Skoga. The day before the wedding, the bride-to-be enters a flower-shop in order to inspect her bridal bouquet of lily of the valley, but suddenly vanishes without at trace. When she eventually turns up again, it is Christer who finds her. She lies dead outside her home with a bouquet of lily of the valley in her hand. Everybody close to the bride are suspects, not least her best friend, whom Christer has just begun flirting with. Everybody seems to have something to hide. Question is: are their secrets connected to the murder?
Berlin - techno, cobblestones and a lot of graffiti. "Berlin Recyclers" portraits the cultural, social and urban fabrics of this city by means of experimental animation. The viewer is guided to urban hideouts where little creatures dwell. These are digitally composed with collected trash and typical local products. The clatter of the limbs of these creatures interacts with the soundscapes of Berlin.
Are even the best and brightest revolutionary movements doomed to inevitable compromise, betrayal and failure? That question haunts this documentary, a biography of Angolan-born Mário Pinto de Andrade (1928–1990), a key figure in African revolutionary and anti-colonial struggles.
This musical version of the tale of the boy who wouldn't grow up aired live on television on March 7, 1955. It was so popular that it was restaged the following year, and again four years later.
The movie narrates a simple but the most indispensable message of life --- KARMA --- One should always only focus on his work/karma that he is destined to do - Hard work and perseverance are the keys to Success whereas people often go off track by focusing on taking revenge.
Lee Martin, one of the cowboy stars in 'Buffalo Bill's Wild West', rides a bronco as a crowd looks on. While the horse is trying to throw Martin off its back, another cowboy stands on top of a fence rail and occasionally fires his six-shooter, to spur on both horse and rider.
It's the end of the century at a corner of the city in a building riddled with crime - Everyone in the building has turned into zombies. After Jenny's boyfriend is killed in a zombie attack, she faces the challenge of surviving in the face of adversity. In order to stay alive, she struggles with Andy to flee danger.
"A film after film". A director goes to Sabinov, where the Oscar-winning film The Shop on Main Street was shot almost fifty years ago. He meets people connected to the film as well as others who remind him of various characters. A tribute to a particular film as well as to film as such.
Skye just wants to have a date with his crush, Annabelle. Only one problem stands in the way - twin brother Leif... but not quite in the way Skye thinks.
A car accident traps two men inside a car near the water. With the tide coming in, they discuss the circumstances that led up to the accident.
Director José Luis Garci has turned his camera inward on filmmakers and screenwriters to portray them as so self-absorbed in the creative process that there is no other world, no other human relationship that can compete. As José (Adolfo Marsillach) and Federico (Jesus Puente) work together on a new screenplay, their interactions with their family (José's teen daughters, Federico's wife) disappear under the all-consuming task of creation. The daughters give up and go off on their own, and the wife joins a convent while Federico barely notices. And when the producer is interrupted by profound grief at the sudden death of his older son, he almost automatically returns to thinking about the film project when the funeral has ended. Garci honors many great directors at the beginning of this film, and the film continues to play out as an elaboration on this homage -- an illustration both of the dedication and the cost of filmmaking, no judgments given.