Movie: OM : A jamais les premiers

Top 4 Billed Cast

Basile Boli
Basile Boli

Self

Didier Deschamps
Didier Deschamps

Self

Eric Di Meco
Eric Di Meco

Self

Bernard Tapie
Bernard Tapie

Self

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A mansion, a lawn, some trees: an unmoved frontal view, 9 minutes long. We hear an off-screen voice. It si the co-director, who commands what goes on in the image. He calls up participants while the other co-director climbs a ladder and holds up a cornet that emits smoke and sparks.

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Meet Me in St. Gallen(tl)

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With more than 50 million Latinos now living in the United States, Latinos are taking their seat at the table as the new American power brokers in the world of entertainment, business, politics and the arts. As Latinos’ influence in American society has soared, they have entered mainstream American culture, and the proof is in the music. Executive produced by legendary music mogul Tommy Mottola, THE LATIN EXPLOSION: A NEW AMERICA features a dazzling array of artists at the center of Latino cultural power and influence, including Marc Anthony, Emilio Estefan Jr., Gloria Estefan, José Feliciano, Eva Longoria, George Lopez, Jennifer Lopez, Los Lobos, Cheech Marin, Ricky Martin, Rita Moreno, Pitbull, Romeo Santos, Shakira, Thalía and Sofía Vergara. Narrated by John Leguizamo.

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Details from a portrait of Kinbakushi Akira Naka, through the otherness of image and speech; broken up memory, fragmented time, reminiscences of places, moments, faces and bodies, during a back-and-forth between the recollections of a child and the aspirations of a man in his fifties...

The Van
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The Van(en)

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A dutiful son (Eugene Cordero) spends a week moving his eclectic elderly father (Raul Aranas) out of the only home he’s ever known in America. When his father says he won’t leave unless he gets to take his broken down 1986 Toyota Van with him, something he’d much rather leave behind, things get worse. Left with no choice, the son hires a mechanic to fix the van, but finds that what’s really broken is the relationship between himself and his father; a relationship that has been non-existent since the passing of his mother. The son wants his father to move in with his new family and move on with his life, but letting go is easier said than done.

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Queenie & King the Lovers
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Queenie & King the Lovers(cn)

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Multishow ao Vivo: Vanessa da Mata
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Multishow ao Vivo: Vanessa da Mata(pt)

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How I Unleashed World War II, Part III: Among Friends
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How I Unleashed World War II, Part III: Among Friends(pl)

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Disguised as an Italian medic, Dolas finds himself on a ship evacuating wounded Axis soldiers to Italy. He leaves the ship disguised as a Nazi soldier, but is found out, declared a deserter and sent to the Eastern Front. However, on the flight to Russia, he is able to escape with a parachute, and finds himself back in Poland, now occupied by Nazis.

Closed Vagina
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Closed Vagina(ja)

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Adachi's follow-up to Bowl using the figure of a woman suffering from an unusual sexual aliment has often been taken as a controversial allegory for the political stalemate of the Leftist student movement after their impressive wave of massive fiery protests failed to defeat the neo-imperialist Japan-US Security Treaty. The ritualistic solemnity of the charged sexual scenes contribute to the oneiric qualities of Closed Vagina which Adachi would later insist was an open work, not meant to deliver any kind of deliberate political message. - Harvard Film Archive

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I 'Anja og Viktor – I medgang og modgang', den femte Anja og Viktor-film, er parret kommet i pengemangel. De bor sammen med deres lille datter i vennernes ramponerede øvelokale i Sydhavnen, men da kommunens ivrige mand afslører dem i at bruge øvelokalet som bolig, og de nu regulært står på gaden, hvis de ikke skaffer penge til lejligheden, er familien i en presset situation.

People
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People(en)

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The Red Mountain Tribe hangs out in my backyard. "Lipton's lovely home movie PEOPLE, in its affection for valuable inconsequential gestures, indicates in the course of its three minutes why there has to be a continuing alternative to the commercial cinema." – Roger Greenspun, The New York Times

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