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Between 1981 and 1984 Leonard Bernstein recorded nearly all of Brahmss orchestral works with the Wiener Philharmoniker to honor the 150th anniversary of the composer's birth in 1983. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violoninst Gidon Kremer, the cellist Mischa Maisky and the pianist Krystian Zimerman. Leonard Bernstein, Krystian Zimerman, and the Wiener Philharmoniker, it's very hard to get a better group of musicians for these masterpieces. Mr. Zimerman and Mr. Wolfgang Herzer's piano cello duets in the third movement of Brahms' second is simply tearful.

Haunted by the fear of becoming a "one-hit-wonder author," João grows increasingly anguished over his inability to produce a follow-up to his acclaimed debut novel. The young writer realizes he must break free from his self-imposed routine and venture beyond his comfort zone. In this pursuit, he forms an unlikely friendship with Breno, a free-spirited motorcyclist whose lifestyle couldn’t more different from João’s own. Their bond may just hold the key to unlocking the inspiration João needs to finally write his second book—and redefine his legacy.

The story is told through the eyes of a boy, how he wanders between reality and dream. His daily life is transformed to a surreal world through the unique sensitivity of boyhood.

This is Palmer's highly controversial portrait of Brahms - a film that exploded the familiar image of 'stodgy old bearded Brahms' - a man whose first musical experience had been playing an upright piano in the brothels of Hamburg where he had grown up, and who at the end of his life lived a bachelor in Vienna having his every need satisfied by the prostitutes of the city whom he always affectionately described as his ‘little singing girls'. It is a celebration - of Brahms' unabashed, life-enhancing, sexually explosive music. Warren Mitchell portrays the composer

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Here is the most convincing presentation of Brahms' symphonies that I personally have ever experienced. There is no explaining a gift like Leonard Bernstein, a true legend and one of the truly great ones of the 20th century (and a great Brahms conductor!). I have followed his career and recordings both at the NY Philharmonic and at Vienna (other places too). His brilliance and incandescence are revelatory in these Brahms performances. His view of a thorough-going romantic Brahms expressing his passionate control of an inner rage in classical form is convincing. He and this great Vienna orchestra give a consistent statement of it. And, of course, Bernstein's introductory comments are without peer.

Lah is a mahout who works his elephant at an illegal logging site in Burma. When they're about to get busted, he sends his son Saeng and his elephant to relatives in Bangkok. Saeng ends up begging the streets of Bangkok with his elephant and he comes in contact with the local mafia who wants their cut or else.

A gambler comes out of prison, returns to his old-flame, and finds that she has a teenage son, who begins to believe that the ex-con is his father.