THE STORE is a film about the main Neiman-Marcus store and corporate headquarters in Dallas. The sequences in the film include the selection, presentation, marketing, pricing, advertising and selling of a vast array of consumer products including designer clothes and furs, jewelry, perfumes, shoes, electronic products, sportswear, china and porcelain and many other goods. The internal management and organizational aspects of a large corporation are shown, i.e., sales meetings, development of marketing and advertising strategies, training, personnel practices and sales techniques.
Susan Shelley is released from an asylum where she's been confined to after the shock suffered over the fiery death of her mother. Her father has a new wife, who has only married him for the money left to him by his dead wife. Susan is still haunted by her mother's memory, and her step-mother is conspiring with her lover to get the troubled girl to lead them to her mother's missing diamond necklace.
Western sheriff Bob Wells is preparing to marry Sally Morgan; she loves part-Indian Wanenis, whose race is an obstacle. Sally flees the wedding with hypochondriac Henry Williams, who thinks he's just giving her a ride; but she left a note saying they've eloped! Chasing them are jilted Bob, Henry's nurse Mary (who's been trying to seduce him) and others.
Fed up with the murderous shenanigans of Valli’s protection racket, police chief Grifi assembles an ace team of stunt trained police officers to tackle the mob!
A young woman escapes from a mental hospital during the chaos of a nearby multiple-car accident. She is mistaken for a shock victim and is driven to her sister's house by a rescue volunteer. Then the real story begins...
Hapless hustler Bank, rescues a miserable young prostitute, Som, from street thugs, and the two begin a quiet romance. When Bank has the opportunity to become a drug-runner for an affluent dealer, he resolves to raise enough money to rescue Som from the sex trade. But, as Bank descends deeper into Bangkok's violent criminal underworld, the possibility of leaving his old life behind grows ever more distant.
Irene lives with Mateo, his father, and her son David, 22 years old. Living together is harmonious and happy, but there is a conflict: David, a brilliant student of architecture, has decided to go and live with his girlfriend Clara, a supermarket cashier. Despite its liberal way of thinking, Irene cannot understand such an unequal relationship. However, David finds in his grandfather the necessary complicity to carry out his plans. Mateo is a old and vital octogenarian despite his tough history: he was a child during the Spanish Civil War (1936-1939), and he lost his house and all his family. But none of that could finish with his energy and desire to live. One day, however, Mateo arrives with terrible news.
The sixth film of Frank Capra's Why We Fight propaganda film series illustrates Japan's occupation of China, including Madame Chiang Kai-Shek's stirring address before congress, the rape of Nanking, the great 2,000 mile migration, and Claire Chennault's Flying Tigers.
Emily Hagins is making a zombie movie. It's feature-length, it's bloody, and the zombies don't run. Just like it should be. But there's just one difference between her film and every other zombie movie you've ever seen. Emily is twelve.
Khodorkovsky, the richest Russian, challenges President Putin. A fight of the titans begins. Putin warns him. But Khodorkovsky comes back to Russia knowing that he will be imprisoned, once he returns. When I heard about it, I asked myself: why didn't he stay in exile with a couple of billions? Why did he do that? A personal journey to Khodorkovsky.
Documentary filmmaker Doug Block had every reason to believe his parents' 54-year marriage was a good one. But when his mother dies unexpectedly and his father swiftly marries his former secretary, he discovers two parents who are far more complex and troubled than he ever imagined. 51 Birch Street is a riveting personal documentary that explores a universal human question: how much about your parents do you really want to know?
Evelyne, a woman of bourgeois origin, now reduced to dancing in a sleazy nightclub, is reunited with her first love, who has become a successful doctor.
In the years before Ronald Reagan took office, Manhattan was in ruins. But true art has never come from comfort, and it was precisely those dire circumstances that inspired artists like Jim Jarmusch, Lizzy Borden, and Amos Poe to produce some of their best works. Taking their cues from punk rock and new wave music, these young maverick filmmakers confronted viewers with a stark reality that stood in powerful contrast to the escapist product being churned out by Hollywood.
Agent Joaquin recalls his latest mission while lying wounded in an ambulance: Joaquin has infiltrated into a band of smugglers. When the villains learn the truth about him, they kidnap Jouqin's fiancee. Santo comes to her rescue and fights the band.
A documentary film released in 2000 about two American families with young deaf children and their conflict over whether or not to give their children cochlear implants, surgically implanted devices that may improve their ability to hear but may threaten their deaf identity.
The dance performance “Kontakthof” bears the unmistakable signature of Pina Bausch: it deals with forms of human contact, encounters between the sexes, and the search for love and tenderness, with all its attendant anxieties, yearnings and doubts. It is a dance about feelings, which always pose a big challenge – particularly for young people. Teenagers from more than eleven schools in Wuppertal went on an emotional journey that lasted almost a year. Every Saturday, forty students aged between fourteen and eighteen years of age took part in rehearsals that were led by Bausch-dancers Jo-Ann Endicott and Bénédicte Billiet and intensely supervised by Pina Bausch herself.
This documentary offers a rare glimpse of the legendary Soviet filmmaker, Andrei Tarkosvky, at work. Tarkovsky made only seven films in his brief, but brilliant, career; Michal Leszczylowski's respectful movie chronicles him at work on his last film, The Sacrifice. Offering insight into Tarkovsky's working methods and transcendental aesthetics, the movie is a compelling account of the difficulties of film production. In the case of an uncompromising and visionary filmmaker like Tarkovsky, the practical problems of filmmaking are only magnified, as cast and crew struggle to realize the ambitious concepts in Tarkovsky's mind.