England has been overrun by a pandemic with no apparent cure. As the infection continues to spread, safety – for a lucky few – looms in the form of a damaged 747 set to seek solace abroad. It’s only once the plane is airborne that the survivors discover the infection made it onto the flight with them.
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In the 1970s, a foundling lad, Patrick “Kitten” Braden, comes of age by leaving his Irish town for London, in part to look for his mother and in part because his trans-gender nature is beyond the town’s understanding.
A bad girl and a province boy found love in the state of being broken and in the process of healing.
As their planet is being ripped apart two young soldiers Ashmal and Zack stumble across something that might be mankind’s only hope for survival against an overwhelming alien invasion. A NOVR.
Le Mirage is the perspective of a man in his thirties asking himself “what am I chasing?” Our society has become all about consumerism, if not excess. Success is determined by what and how much we have and “stuff” becomes the band-aid to a meaningless existence. Stuff fills the void of the existence we weren’t meant to lead.
Taking his inspiration from the biggest scandal in Japan’s police history, Kazuya Shiraishi has created a massive and sinister crime epic about the grand forces of corruption that brings to mind the best of Kinji Fukasaku’s yakuza movies (Cops vs. Thugs among others). Starting in 1970s Hokkaido like a nervous Japanese Starsky & Hutch–chan, the film charts the moral descent of Detective Moroboshi (Go Ayano) over three decades. Green in years but already hard‐grained and ready to play rough, the young cop quickly gets a bit too cozy with the other side of the law when his senior colleague Murai (Pierre Taki) teaches him the ropes and ruts of the police business. Soon, he swaggers and rants through the streets of Sapporo a lean, mean, sex‐crazy bully, indistinguishable from a yakuza. Burning with the same blaze as the hard‐boiled classics of yore, Twisted Justice scorches away the sleekness and macho self‐congratulation of the genre.
A descent into hell, Jesper Ganslandt’s disturbing and suspenseful second feature begins with a man waking up in unfamiliar surroundings, only to find the life he knew the day before is gone.
The fictionalized story of Daniel, the son of Paul and Rochelle Isaacson, who were executed as Soviet spies in the 1950s. As a graduate student in New York in the 1960s, Daniel is involved in the antiwar protest movement and contrasts his experiences to the memory of his parents and his belief that they were wrongfully convicted.
In Arizona in the late 1800’s, infamous outlaw Ben Wade and his vicious gang of thieves and murderers have plagued the Southern Railroad. When Wade is captured, Civil War veteran Dan Evans, struggling to survive on his drought-plagued ranch, volunteers to deliver him alive to the “3:10 to Yuma”, a train that will take the killer to trial.
Charles Price may have grown up with his father in the family shoe business, but he never thought that he would take his father’s place. Yet, the untimely death of his father places him in that position, only to learn that Price & Sons Shoes is failing. While in despair at his failed attempts to save the business, Charles has a chance encounter with the flamboyant drag queen cabaret singer, Lola. Her complaints about the inadequate footwear for her work combined with one of Charles’ ex-employees, Lauren, leads to a suggestion to change the product to create a desperate chance to save the business: make men’s fetish footwear. Lola is convinced to be their footwear designer and the transition begins. Now this disparate lot must struggle at this unorthodox idea while dealing both the prejudice of the staff, Lola’s discomfort in the small town and the selfish manipulation of Charles’ greedy fiancée who cannot see the greater good in Charles’ dream.
