CoIm Bairead's beautifully understated feature debut finds a young girl coming to terms with loss and the importance of family in rural Ireland. Cait (Catherine Clinch), a quiet, neglected young girl, is sent away from her dysfunctional family to live with relatives for the summer. At first intimidated by her new environment, she quickly blossoms in the care of Eibhlin (Carrie Crowley) and her farmer husband, Sean (Andrew Bennett). As this new home becomes an idyll for her, Cait senses that something is plaguing her new foster parents - an unspoken pain that Eibhlin and Sean never discuss, which Cait's youthful curiosity begins to uncover.
In the Paris winter of 1999 Camille (Lola Creton) is fifteen, Sullivan is nineteen. Although they love each other passionately, Sullivan wants to go travelling for a year - a plan that fills Camille with despair. At the end of the summer, Sullivan leaves and a few months later he stops writing to Camille. Fast forward four years and Camille is fully devoted to her architectural studies when she meets a well-known architect, Lorenz, who restores her self confidence and they fall in love. It is then that Sullivan and Camille once more cross paths...
Isolation...alienation...happiness. In America they all go hand in hand. Buy a new TV and you will be happy. Still not happy? Experience alienation. Can't afford a new TV? Then live in isolation. 'Be happy', and if that doesn't work, pretend to make it work. For the characters in Todd Solondz' award winning, subversively funny film Happiness, the struggle to attain such a state is fraught with perils both heartbreaking and hilarious.
Gregoire Canvel has everything a man could want: a wife he loves, three delightful children and a stimulating job as a film producer. Yet his prestigious production company seems to be on a downward spiral - too many projects, too many risks and too many debts. As storm clouds begin to gather, Gregoire ploughs on at all costs until he is finally forced to confront the reality of the situation.
In 1961, Kempton Bunton (Jim Broadbent), a 60 year old taxi driver, stole Goya's portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery's history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale.
Fred and Mick, two old friends now approaching eighty, are on holiday together in an elegant hotel at the foot of the Alps. Fred (Michael Caine), a retired composer, is resisting attempts to revive his greatest work, while elderly film director Mick (Harvey Keitel) is desperate to make a comeback movie starring his former favoured actress Brenda (Jane Fonda). The two friends reflect on their past, as they look with curiosity and tenderness on their children's confused lives, Mick's enthusiastic young writers, and the other hotel guests, all of whom, it seems, have all the time that they lack.
Two young missionaries (Sophie Thatcher and Chloe East) are forced to prove their faith when they knock on the wrong door and are greeted by a diabolical Mr. Reed (Hugh Grant). Made to choose between belief and disbelief, they find themselves plunged into the darkest labyrinths of Reed's mind and a deadly game of cat-and-mouse in this twisted horror from writer-directors Scott Beck and Bryan Woods ("A Quiet Place")
An astonishing portrait of youth on the American fringe, 'American Honey' is told through the eyes of a vivacious teenage rebel who joins a group of fellow misfits hustling and partying their way across the country. Bursting with electric, primal energy, 'American Honey' is an immersive, exhilarating odyssey of heartbreaking beauty - a generation-defining film that celebrates the defiant resilience of youth in pursuit of the American Dream.
In the sublime new film from Jim Jarmusch, Adam Driver gives a career-best performance as Paterson, a bus driver in the New Jersey city of the same name. He's also a poet, recording his daily observations and thoughts into a notebook. Paterson thrives on routine: he drives his bus route, he goes home for dinner with his wife Laura (Golshifteh Farahani), he walks his dog, he visits his local bar for one beer. By contrast Laura's world is ever-changing, with new projects and ideas striking her daily. The film quietly observes the triumphs and defeats of daily life, along with the poetry evident in its smallest details.
Pete (Tom Stourton) is ready to leave his youthful indulgences behind and settle down with his girlfriend, Sonia (Charly Clive). When his university friends invite him for a country weekend way to celebrate his birthday he finds their immature ways haven't changed and he's baffled by their spontaneous invitation to a feral stranger from the local pub to join them. With the atmosphere turning from tense to terrifying to surreal, Pete reaches breaking point. Is he being punished? Is he paranoid? Or is he just part of some sick joke?
Summer in the GDR, 1980. Barbara, a young doctor, is exiled to a provincial hospital, seemingly punished for attempting to leave East Germany. Confined to a claustrophobic small town and under a constant veil of suspicion, she befriends no one, waiting patiently for the opportunity to resume her mission. When her new boss appears to confide in Barbara, she is thrown. Hers is a life in which the fear of surveillance is embedded in all personal relationships, and she doesn't know who to trust. Why has he covered for her and one of her patients? Torn between her instinct and her duty, the characteristically hyper-controlled Barbara begins to lose her grip on herself, her obligations and her heart.
When her young son Minato (Soya Kurokawa) starts to behave strangely, single mother Saori (Sakura Andô) knows that there is something wrong. Discovering that one of his teachers might be responsible, she storms into the school demanding answers. But as the story unfolds through the eyes of mother, teacher and child, shocking truths begin to emerge.
Vienna, winter. Johann, a guard at the grand Kunsthistorisches Art Museum encounters Anne, a foreign visitor called to Austria because of the poor health of a friend. Never having been to Austria and with little money, she wanders the city in limbo, taking the museum as her refuge. Johann, initially wary, offers help, and they're drawn into each other's worlds. Their meetings spark an unexpected series of explorations - of their own lives and the life of the city, and of the way artworks can reflect and shape daily experience.
Four ageing men live together in a secluded house on a windswept Chilean coastline. Each has been sent there to purge sins of the past, adhering to a strict regime under the watchful eye of a female caretaker. This fragile stability is disrupted by the arrival of a newly disgraced companion - bringing with him the past they thought they had left behind...
Based on a novel by George Bernanos, 'Diary of a Country Priest' marked the first in Director Robert Bresson's so-called "prison trilogy" (followed by 'Pickpocket' and 'A Man Escaped'). The film begins with the arrival of a young, sickly priest (Claude Laydu) at the godless parish of Ambricourt in Northern France. Here he becomes drawn into the complex domestic life of a wealthy Count (Jean Riveyre), his tormented wife, his manipulative daughter and his mistress, Miss Louise (Nicole Maurey). Narrated by excerpts of the priest's diary, the film follows his efforts to awaken the villagers from their spiritual lethargy, with their struggles, suffering and triumphs representing in a microcosm those of humankind itself. Bresson's intensely personal style, minimalist approach to dialogue and music, and use of non-professional actors marked a new kind of filmmaking, which was to influence such diverse directors as Paul Schrader, Richard Linklater and Andrei Tarkovsky.
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