This 1990s South Korean movie focuses on a woman who is put on death row after killing her abusive husband.

Set in Dublin in 1967, the story of feisty woman, who along with her seven children, learns to cope with adversity after the unexpected death of her husband.

What is a human life worth? How is it possible that a woman like Agnes could agree to kill another human being? Is it the money? Or are there other forces at play?

Dear Aunt Agnes was a children's show on TV Ontario that debuted on Tuesday, Jan 7, 1986. The show's premise was that a divorced mother called her Aunt Agnes to come and take care of her children so that she could take a job in another country. Agnes Peabody was a lovable 65-year-old eccentric who moved in with her pre-teen nephew and teenage niece. Agnes was not fond of the seemingly modern amenities of her new home. Agnes was also very fond of Elvis Presley.The show was designed for eight- to twelve-year-olds with a conscious effort to create a non-traditional family situation in which children are given the responsibility for a lot of their decisions. Cancelled after two 13-episode seasons, it aired in reruns before returning in 1989 with a new batch of episodes in which Andrew and Alex were all grown up. In this last season, the problems the kids encountered reflected issues that affect teens.

Dark secrets are revealed after a tragic event at an elite boarding school sets off a search for the truth.

This conversation explores the cinema approaches and thinking of film directors Agnes Varda and Susan Sontag, who were among the small group of artists represented in the prestigious seventh annual New York Film Festival (1969). Here they discuss their ideas and their films with Jack Kroll, senior editor at Newsweek magazine. Excerpts from both their films (Varda's Lions' love, and Sontag's Duet for cannibals) illustrate the conversation.

“My paintings are not about what is seen. 　　They are about what is known forever in the mind.” 　　– Agnes Martin 　　“'‘I’m very careful not to have ideas, because they’re inaccurate,’ the artist Agnes Martin says in Mary Lance’s touching documentary about her, but it’s a lie. Ms. Martin was full of ideas, and she dispenses them engagingly in the course of the film… She talks about her early childhood on the plains of Saskatchewan. And by the end of the film, Ms. Lance has gently led you to connect that comment with Ms. Martin’s signature style of work: broad horizontal bands of subtle hues Her remembrances of her years in New York and New Mexico are lovely to hear, as are her bits of philosophy.” 　　– Neil Genzlinger, The New York Times

“My paintings are not about what is seen. 　　They are about what is known forever in the mind.” 　　– Agnes Martin 　　“'‘I’m very careful not to have ideas, because they’re inaccurate,’ the artist Agnes Martin says in Mary Lance’s touching documentary about her, but it’s a lie. Ms. Martin was full of ideas, and she dispenses them engagingly in the course of the film… She talks about her early childhood on the plains of Saskatchewan. And by the end of the film, Ms. Lance has gently led you to connect that comment with Ms. Martin’s signature style of work: broad horizontal bands of subtle hues Her remembrances of her years in New York and New Mexico are lovely to hear, as are her bits of philosophy.” 　　– Neil Genzlinger, The New York Times

This conversation explores the cinema approaches and thinking of film directors Agnes Varda and Susan Sontag, who were among the small group of artists represented in the prestigious seventh annual New York Film Festival (1969). Here they discuss their ideas and their films with Jack Kroll, senior editor at Newsweek magazine. Excerpts from both their films (Varda's Lions' love, and Sontag's Duet for cannibals) illustrate the conversation.

Sebastian and Valeria are about to get married. Everything seems perfect but a woman tries to seduce Sebastian while Valeria is pregnant.