In a dark prelude to the Power Rangers comic book event "Shattered Grid," Lord Drakkon has decided his world is too small for his ambition. He has figured out a way to not only conquer other worlds but defeat the Power Rangers as well.
Shot live from the Winter Garden Theatre in New York City, this presentation of the 1980 Broadway revival of the beloved Lerner & Loewe classic follows King Arthur, who founds the kingdom of Camelot and the Knights of the Round Table. Their goal: fight for justice and right, but Arthur only sees his ideal crumble when his wife Guenevere falls in love with his favorite knight, Sir Lancelot.
Thrown to rot in a narrow and gloomy cell of a hideous Soviet prison, a weary new inmate struggles to come to terms with the new reality. Within the grey cage, an unwelcoming fellow convict cautions the newcomer not to touch the intriguingly mysterious red wooden box which rests on the lower bunk, moreover, not even think of opening it. Why is there so much secrecy about the contents of the box? Could there be hiding the means to his escape?
An unlikely hero, Elwood P. Dowd. This mild-mannered-but-eccentric bachelor has, for several years, happily kept company with Harvey, a six-foot-tall rabbit that only he can see. All's well until Elwood's social-climbing sister, Veta, and her teenage daughter, Myrtle Mae, come to live with him and fear his odd behavior will undermine their ambitions. When Elwood disrupts the ladies' first afternoon tea party by introducing wealthy Aunt Ethel Chauvenet to Harvey, Veta sees that something must be done right away. She takes compliant Elwood to the Chumley Rest Home, leaving him in the car while she tells a Dr. Sanderson all about Elwood and Harvey. Sanderson concludes that Veta is the psychotic one and has her carted off to be committed. Meanwhile Elwood is treated with respect and dignity in light of his sister's mental state. When Dr. Chumley, head of the rest home, returns and hears of the case, he draws the opposite conclusion-that Elwood in fact hallucinates.
From deep in the bowels of her castle keep, the Dark Maiden rules the realm with an iron fist. With a heart as cold as the breastplate that shields it, the Maiden teases her subjects with whips and chains, their moans only serving to heighten her grim ecstasy.
Chang is known for his lone swordsman and hero movies and strangely The Weird Man still reflects this. Cheng plays a righteous, beheaded priest with supernatural powers that returns from the dead to wreak havoc against one of the corrupt kingdoms, making Cheng a heroic swords-ghost.
Sometime during the 19th century in Switzerland: After a delirious night of drinking, three herdsmen who are all alone in the alps with their kettle, create a female doll from cloth and a strangely formed wooden root. When their creation comes to life in form of an evil and beautiful female demon, they have to fear for their lives...
The fourth instalment in the surreal Don’t Hug Me I’m Scared videos in which the three returning characters enter a sinister digital world through their computer.
In a cabin of the deep of the forest, a child and his father lead a wild and hard life in utmost isolation. The child grows up fearing and admiring his father, with the ghosts haunting the forest as his only companions. Until the day he discovers the neighbouring village and meets a young girl there, Manon. At her side, he discovers that love exists. From then on he won't cease to search for the place where his father's love for him is hiding.
In the kingdom of Kindaor, traitor Sedesmondo kills his brother, the King of Kindaor, and becomes the tyrant of kingdom. He abandons the prince Arminio to beasts in the woods, but lions don't kill him and breed him as one of them.
"Those Were the days" speculates on what would happen if a hot international art house director were transported back in time to the 1960s Hong Kong film industry. Highlights include: WKW meets Wong Jing as a child and profoundly influences career; WKW attempts to make his kind of films with the resources, talent, and expectations of 1960s HK filmmakers, and a lot of other Hong Kong /Wong Jing style zaniness.
As the only employed member of a large family, Aditya Singh a big-hearted mechanic, works hard to provide for his siblings, his grandmother and a bevy of nieces and nephews. But, when he is unexpectedly killed in a car accident, his family's future becomes a murky prospect. Fearful for their safety and happiness, Aditya convinces Yamraj the Hindu god of death, to give him a chance to return -- as a ghost -- to carry out the unresolved business of his life.
Synopsis
1. "Today's Superpower" (26min, 오늘의 초능력, o-neul-eui cho-neung-ryeok) by Lee Min-seob
People who claim to be able to use superpowers once a day gathered! But why can't they use their superpowers? Do they really have superpowers in the first place? 2. "1+1" (30min, 1+1) by Han Jay
"Toot! I'm 1+1!" One day, the same alter ego as me appeared! 3. "Jangah & Chichung" (35min, 장아치청, jang-a-chi-cheong) by Kim Tae-hoon-II
"Burp!" Once you start burping, there's nothing you can do. A comedy action movie limited to 60 minutes, filled with real superpowers by superheroes. 4. "LOVE SICK" (23min, 러브씩, reo-beu-ssik) by Jung Seung-hoon
A year after the end of the zombie crisis, Seung-beom prepares an unforgettable proposal for his girlfriend Ji-yoon who saved him.
East of the largest island of the Antilles, Cuba, in the city of Gibara Raúl, an actor who has been invited to the film festival sees a beautiful young woman who comes out of the sea with a yellow dress and seaweed on her head in one morning. This happens while walking in a wind farm on his trip to the city.