A young officer returns to his base after a daring mission. The cook’s assistant, a religious Holocaust survivor, is envious of him. He believes that there is a place in heaven reserved for the brave officer who endangers his life for the sake of his Jewish brethren. The officer, in the spirit of the Zionist ethos, is secular and a non-believer. At the moment, he is so hungry that, for a plate of shaksuka, he is prepared to sign a contract transferring his secured place in heaven to the cook. Some forty years later, the present time of the movie, the tables have turned – the officer, now a retired general, is on his death bed in the hospital. His son who, to his father’s horror, has found religion, is in a race against time. Before his father dies, he has to find that cook’s assistant who, forty years earlier, bought his place in heaven. If and when he finds him, the son has to nullify the contract. If he doesn’t, his father will go to hell.
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At age 82, Mitch Albom’s former rabbi Albert Lewis wants the famous Detroit sportswriter to give his eulogy when the time comes. Albom makes a visit to his former home town in New Jersey, where Rabbi Lewis has served a congregation for about 50 years. Albom doesn’t feel worthy, especially since he is no longer a practicing Jew and, in fact, he has married a Christian (who apparently isn’t active either). Nevertheless, Rabbi Lewis says he is the one to do the job, and over the next eight years, Albom makes several visits back home and even attends some Sabbath services, where the good rabbi is determined to continue working and inspiring his flock even as his health declines.
The Malakian clan, a family of ruthless gangsters, controls the underworld of Southern France. At its head, the violent godfather Milo Malakian rules his world with an iron fist. His son and heir, Anton, dreams of breaking free and making his own choices. But the gang’s inner circle is engraved in blood. To escape, not only does Anton have to counter his own destiny, but also the man who has sworn to bring his father down.
Lee Chung is a Prince of Joseon, but he has been taken hostage to the Qing Dynasty. He enjoys boozing, womanizing and gambling. He is also an excellent swordsman. His older brother Lee Young will succeed to the throne and brings Lee Chung to Joseon. He returns after more than 10 years. Soon, Lee Chung faces monsters that run rampant in the night.
The suffocating love between between a father and a son who, as modern outlaws, struggle to survive in the depleted and neglected southern Dutch province of Limburg.
This TRUE STORY begins on a weekday morning in a peaceful suburb of Akron, Ohio, the town awakens to discover that Rachel Turner and her son, Evan, have been brutally murdered during the night. A short while later, Danny Turner is found in his car at the bottom of a ravine, after having taken his own life.
Uncouth, loud-mouth junkyard tycoon Harry Brock descends upon Washington D.C. to buy himself a congressman or two, bringing with him his mistress, ex-showgirl Billie Dawn.
A young Chinese boy and girl are sent on a mission to retrieve the ‘Glorious 100’ – agents who were sent to this planet millennia ago to study and observe.
A Vietnam vet (Tommy Lee Jones) takes forceful control of Central Park to remember those who served and died in the Vietnam War
Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.
