As a nun, Katharina von Bora lives the life destined for her until she comes into contact with a completely new world of thought in the early 20s through the writings of Martin Luther. She flees with some of her co-sisters and comes without legal status, without income and rejected by her family to Wittenberg, where she meets Martin Luther personally. Katharina decides to marry the reformer and, as his wife, becomes a respected housekeeper, an equal interlocutor and the mother of their children together.

Housebound because of illness, Caroline (Maisie Williams) hasn’t been to school in months or had many visitors - until classmate Anthony (Zach Wyatt) bursts into her room uninvited, armed with waffle fries and a copy of Walt Whitman’s Leaves of Grass.

米歇尔·乔丹(金伯利·伊莉斯饰)是一个年轻的女子，她的亲生父亲在她尚未出生的时候便抛弃了这个家庭，从那以后，米歇尔的妈妈凯茜(洛莉塔·戴维尼饰)便似得了恐惧症一般，害怕她现在的男人雷吉(克里夫顿·鲍威尔饰)再次抛弃她。 　　 　　雷吉是个无恶不作的家伙，他酗酒、吸毒，在米歇尔12岁的时候开始性骚扰她。在这样的环境下长大，一个并不爱自己的母亲，和一个混蛋继父，米歇尔小小年纪便开始堕落，她吸毒成瘾，卖淫赚钱，并且被捕入狱。米歇尔自出生便被投在无底的深渊，她无力挣扎，甚至看到了死亡的颜色。 　　 　　一天她在《时代》杂志的封面上看到了杰克斯主教，燃起了生活的希望。她给杰克斯写了一封信，也并没有报太大希望，但没多久，杰克斯主教来拜访她了。两个人不停的交流，杰克斯不厌其烦地给她讲解、布道，米歇尔则向杰克斯敞开了自己尘封了多年的快要死去的心。小镇上对米歇尔的敌对态度渐渐转变，人们开始帮助她重新找回自己，米歇尔的生活有了很大的转变，她的世界开始变得五彩斑斓。

Credit to the BBC for trying to promote new Director talent. It seems that it wasn't found anywhere on this production, I'm afraid. 　　What we've got here is an overly-long, self-indulgent one-trick-pony of a program where Lawrence goes around asking people if they think having a small penis is a problem. 　　It all seems false - false, stilted encounters with friends and family, and false emotions from Lawrence. In particular, as he revisits his old school, with lots of emotional moments as Lawrence re-lives his school days, trying desperately to squeeze out a tear. 　　Stick to whatever it is you do Lawrence, and keep your pants on. We're not interested in your penis. 　　James 　　Was the above comment useful to you?

Maria Luisa is ready to escape immigration limbo, but when her green card interview takes an unexpected turn, she faces the anxiety of losing the life she had planned. 　　源自：https://festival.sundance.org/program/film/638a1bf277dd3da3b38063d3

At 42-years-old, Kwon Yool is South Korea's youngest prime minister ever. On top of his reputation of being an honest man of the utmost integrity, he's also a widow who raises his three children alone. But what the public doesn't know is that Prime Minister Kwon is actually a foul-mouthed scrooge devoid of even the most basic of parenting skills. Nam Da Jung is a journalist who resorts to writing trashy tabloids to support her ailing father, but when she chases Prime Minister Kwon for a lucrative exposé, she ends up scooping a whole lot more than she bargained for.

Andy Spader has been happily married for 13 years, with two teenage children, when he meets a younger woman, Claire Holmes, after going to investigate a break-in at her travel agency shop. Having told his wife that he is leaving her, he learns that Claire has just discovered that she has an inoperable brain tumour and has only a few months to live.

The long-awaited second feature film by Billy Woodberry recovers the legend, legacy and ultimately tragic life of Beat-poet Bob Kaufman (1925-1986), skillfully melding recitations of his verse together with rare archival photographs and interviews to offer a moving homage to the artist often called the “American Rimbaud.” Like Bless Their Little Hearts (1984), Woodberry’s celebrated neo-realist debut film, And When I Die, I Won’t Stay Dead chronicles with great sensitivity an unwritten chapter in the history of marginalized America, shedding new light on Kaufman’s still underappreciated poetry and the difficult struggles of the half-black, half-Jewish and fervently left-wing poet. A poet of the oral tradition, Kaufman’s verse was neither written nor recorded and threatened to disappear entirely if not for the valiant efforts of his second wife to publish her husband’s work. Equally fleeting was the figure of Kaufman himself, who once declared that his “ambition is to be completely forgotten” and who, at the height of his creative powers, took a self-imposed and apparently unbroken ten-year vow of silence in haunting lament for the assassinated John F. Kennedy. Woodberry, whose own thirty-one-year break from filmmaking is subtly acknowledged by his film, reasserts Kaufman’s fleeting yet vivid figure into the art and poetry scenes transforming Greenwich Village and San Francisco’s North Beach, offering first-hand accounts of Kaufman by fellow poets such as Jack Hirschman, as well as extraordinary photographs of the Happenings and haunts animated by Kaufman’s indelible presence. Especially resonant is Woodberry’s careful use of Kaufman’s own words, released like birds throughout the film, together with the understated fragments of the jazz and conga drums that so inspired the unique cadence and visionary language of Kaufman’s extraordinary poems. – Haden Guest