From their first encounter as teenagers in high school, Scott and Sid seem unlikely friends. Scott is a shambolic dreamer, intent on carving out his own path in life and holding up a metaphorical middle finger to anyone who tries to stop him. He is a quintessential troubled teen: on his fifth high school by the age of fifteen, alienated from his peers, crippled by recurring nightmares and disliked by his own foster parents. Sid, on the other hand, wants nothing more than to be liked. An unconfident, awkward recluse through circumstance, Sid’s impoverished and dysfunctional background leave him no time for friends and no money for hobbies.
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With the Vietnam War raging in 1969, two young fathers report for duty. A man of great faith and a doubtful cynic. A quarter-century later, their sons, Wayne and John Paul (David A.R. White and Kevin Downes), meet as strangers. Guided by handwritten letters from their fathers from the battlefield, they embark on an unforgettable journey to The Wall-the Vietnam Veterans Memorial in Washington, D.C. Along the way, they discover the devastation of war cannot break the love of a father for his son.
A federal agent whose daughter dies of a heroin overdose is determined to destroy the drug ring that supplied her. He recruits various people whose lives have been torn apart by the drug trade and trains them. Then they all leave for France to track down and destroy the ring.
At a Latin American Presidents’ Summit in Chile where the region’s alliances and geopolitical strategies are shaped, Hernán Blanco, the president of Argentina, lives a political and family drama. Through his son in law, he’s implicated in a corruption case. On her father’s call, Marina Blanco, attends the Summit to find protection, to earn time and to negotiate a way out. Once the thriller starts to build up, the film drifts towards a different direction: a search in their mutual past, as if in the past, a key to understand the significance of the exercise of power could be found. The history of a father versus that of his daughter. That past once calm and domestic, becomes a menacing element, almost fantastic, seen from the top of public life, seen from the Summit.
A wounded criminal and his dying partner take refuge at a beachfront castle. The owners of the castle, a meek Englishman and his willful French wife, are initially the unwilling hosts to the criminals. Quickly, however, the relationships between the criminal, the wife, and the Englishman begin to shift in humorous and bizarre fashion.