Expectant parents become prime suspects in the disappearance of a pregnant woman who was last seen at their garage sale. Model citizen David Rose runs a garden center and is a devoted house-father. Like his wife Ivy, who suffered two stillbirths, their new neighbor Melinda is near to giving birth. Just after David showed her around in the Rose home, Melinda goes missing. Although no corpse is found, just circumstantial evidence more likely to be planted then stupidly left behind, police detective Blanchard treats David as his sole suspect, soon arrested, even after nosy neighbor Bindel is knocked down while David is in jail. School buddy Theo does his best to counsel the couple, yet Ivy doubts her husband's innocence just because of indications he may have had an affair with Melinda since high-school, and starts snooping with her best friend Jody. The worst crime is still being hatched.

When a Space Baby crash lands on Earth, the Baby Squad must race against time to stop an evil villain from taking over the universe!

Jane and Will are familiar faces on the Los Angeles club scene. They meet officially at drug rehab after Jane OD'ed and Will crashed her motorcycle driving stoned. They hit it off immediately and escape the clinic to travel to Montana and find the bike from Easy Rider. Different from most road movies in that no'one gets murdered and no vengeance is reaped. On the contrary, the characters let their pasts and memories lead them down the road to emotional self-destruction. In other words there is no seductive emancipation here, just people with problems that won't go away with a rev of a motor.

A nascent elite team of the Indian intelligence system perpetually strives to detect and eliminate terrorists and their plots. Officer Ajay leads his team to destroy one such potentially lethal ploy in their biggest operation yet.

Frank and Paul are best friends forever and raised Frank's daughter Lilli after a tragic car accident. The two men scrape a living by working as barmen and bouncers in a strip club while Lilly has grown into a lively and self-confident teenager. The disaster unfolds when Lilli seduces Paul and gets pregnant.

Three brothers get the surprise of their lives when they are forced to work together to care for a baby over the holidays. As they slowly get the hang of things, they find themselves on unexpected journeys of self-discovery and begin to rebuild their relationships as brothers, as well as the damaged romantic and professional relationships in their respective lives…all while rediscovering their love of Christmas.

An American soldier finds an abandoned baby in a dumpster. The aircraft's crew welcomed him enthusiastically to provide necessary medical care, but the Korean authorities want to avoid calling the commander to let him in an orphanage. Telefilm based on a true story that occurred in 1953.

本作记录了在没有电和水的山中过着狩猎生活的东出昌大长达一年的时间。在片中，他展示了自己捕获的鹿和野猪作为食物，同时与当地居民互动，但影片也揭示了他内心的混乱情绪和挣扎。

Former college basketball star Will (Obaka Adedunyo) is struggling to kick his heroin addiction and find a stable job, while Jean (Loretta Devine, Waiting to Exhale), his tough but supportive wife, works hard to keep their household afloat. A renewed sense of purpose arrives in the form of a drug-using, destitute 12-year-old, whom Will takes in and affectionately nicknames Little Brother. Will adopts a mentor role towards the boy in order to incentivise himself to do better, but returning to the straight and narrow path proves fraught with temptation. 　　Unapologetically frank and deeply emotional, Will features fierce performances from Adedunyo and prolific actor Devine in her first film role. Trailblazing director Jessie Maple made the film on a shoestring budget of $12,000, shooting on 16mm alongside her husband, cinematographer LeRoy Patton. Maple’s determined DIY ethos even extended to exhibition: for the film’s premiere, she and Patton converted the basement of their Harlem brownstone into a cinema dubbed 20 West, which became a long-running venue used to elevate other Black filmmakers. Recently restored from near obscurity and championed by directors such as Julie Dash, this pioneering film can at last be granted its due. 　　“Will’s crisis has a spiritual dimension, and Maple evokes it, dramatically and symbolically … a blunt cinematic instrument of immense power.” – The New Yorker