Anna, a young teenager, comes home from her Catholic boarding school for the holidays and discovers her father has left. Her mother is devastated and confined in the company of the local priest, who is also a childhood friend. Anna clings to her beloved grandfather. She also grows close to Pierre, a free-spirited teenager who cares little about God. Anna is preparing for her confirmation, but her budding desire for Pierre shakes her faith. She longs to give herself over, body and soul… but doesn’t know if it is to God, or something else?
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Based primarily on the first game in the series, Phoenix Wright: Ace Attorney, the film focuses on rookie defense attorney Ryūichi Naruhodō, as he strives to protect his clients in various murder trials, including the death of his mentor, Chihiro Ayasato, and the accusation of rival prosecutor, Reiji Mitsurugi. Ryūichi’s greatest ally is Chihiro’s younger sister Mayoi, a spirit medium whose body is posessed by Chihiro to communicate with him. The film will be a courtroom drama combined with the video game series’ signature style. Sci-fi elements are also used such as characters bringing up holographic images of evidence during trials.
Rani, a 24-year-old homely girl, decides to go on her honeymoon alone when her fiancé calls off the wedding. Traveling around Europe, she finds joy, makes friends, and gains new-found independence.
A swirling, impressionistic portrait of an artist who regretted nothing, writer-director Olivier Dahan’s La Vie en Rose stars Marion Cotillard in a blazing performance as the legendary French icon Edith Piaf. From the mean streets of the Belleville district of Paris to the dazzling limelight of New York’s most famous concert halls, Piaf’s life was a constant battle to sing and survive, to live and love. Raised in her grandmother’s brothel, Piaf was discovered in 1935 by nightclub owner Louis Leplee (Gerard Depardieu), who persuaded her to sing despite her extreme nervousness. Piaf became one of France’s immortal icons, her voice one of the indelible signatures of the 20th Century.
15 year-old Lyz, a high school student in the French Alps, has been accepted to a highly selective ski club whose aim is to train future professional athletes. Taking a chance on his new recruit, Fred, ex-champion turned coach, decides to make Lyz his shining star regardless of her lack of experience. Under his influence, Lyz will have to endure more than the physical and emotional pressure of the training. Will Lyz’s determination help her escape his grip?
Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.
Before the T.I.C and the Clappers crew were formed, the members worked for a ruthless Yardie boss, Beverly. One of the boys, Jay has ambitions to set up on his own. He has no money, his car keeps getting towed away, every move he makes to get money and lift himself out of the everyday struggle is unsuccessful. Inspired by his high-flying girlfriend, Selene, he sets about laying the foundations for his own organised crime ring. Things are going seemingly well until he is arrested and Beverley discovers his hidden ambition. An ill-fated robbery after a stint in jail and a trip to Jamaica tears the crew apart. All their actions are being monitored by an undercover police officer who goes by the street name ‘Gunz’, who has been deployed by the Met Police to ingratiate himself with the crew. With the same grit, humour and action sequences as its’ predecessor, ‘THE COME UP’ promises to follow ‘THE INTENT’ in becoming an instant cult classic but with international reach.
Fatu’s father has returned home to Guinea-Bissau from Portugal to attend her wedding. The young woman teaches at the university and her future husband is a well-known musician. Their wedding is supposed to take place in Tabatô, a village where everyone makes music. On the way there, it becomes apparent that the father is seriously traumatised by his experiences as a soldier in the colonial war decades earlier.
In a not too distant future, a totalitarian state run by ‘The Director” (Seagal) controls all aspects of life. All enemies of the state are dealt in the harshest way. Most of them are executed by the secret government’s assassins. The best operative is code-named “Condor” (Messner) – an elite agent and hit man for the government. However, in his latest assignment, “Condor” fails to kill an opposition leader, and finds himself on the run from the very same government agency that he works for. This sets in motion a chain of events with unforseen consequences for all involved.
Aria Eubank convinces a famous travel writer to do a feature story on her beloved hometown, however, when the travel guru and his ghostwriter both show up, Aria finds her heart torn between Sterling Masters and Alex Barlett, the man who has genuinely fallen for her.
After receiving an unexpected visit from his mysteriously injured brother Mark, Alex decides to take his family back to the country home of his childhood, but once there, Alex’s wife Vera confesses that she is pregnant again and that the child is not his. Agony ensues as Alex attempts to figure out how best to react.
In 1962 England, a young couple finds their idyllic romance colliding with issues of sexual freedom and societal pressure, leading to an awkward and fateful wedding night.
