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.

In a small South Korean village, while investigating the death of two people in strange circumstances, a grumpy policeman will live an overwhelming experience beyond the reality he has known so far.

Inspired by the true story of Mary Bell; Freedom fascinates and frightens Jackie, encountering the real world for the first time in years, She clings to an ideal : 'What I want most in the whole world is to be in love and to be loved'. Reality can be harsh and unforgiving.

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.

Anita & Me tells the tale of Meena Kumar, a twelve-year-old girl who is discovering life in a whole new light. She lives with her parents in a small mining town called Tollington, in the Black Country of England in the 1970's. She is forever dreaming of a life other than her own, something that her parents can't understand. They believe that she should be studying hard and learning about her Asian heritage. But Meena wants to be blonde and stylish, and looks to her diary as her only escape from the boredom of daily life. But she suddenly finds herself entranced when the Rutter family become her new neighbours. They're loud and brash, and Meena is drawn to eldest daughter Anita. She's fourteen, blonde, confident and outspoken, and Meena worships her. They are complete opposites, but they form a surprising friendship. Anita and some of the local girls have a gang, and Meena is allowed to join. She is naturally thrilled, and they convene in a den in a sprawling wood that supposedly belongs to a Yeti. There, they read Jackie magazine, paint their toenails and dream of what life will be like when they grow up. But Anita is older, and desires boys and life in the fast lane, and soon finds those pastimes more interesting than Meena. Meanwhile, Meena's parents are facing the brunt of racism, and get worried that Meena will go off the rails. They ultimately forbid Meena from socialising with Anita, and try and immerse her in more worthy activities. They slowly drift apart, but Meena soon discovers what Anita has been doing since, and things become very tense. What could have been a lifelong friendship may soon turn nasty, and there are many shocking things yet to come. 　　After much anticipation of Anita & Me being a brilliant film, it ended up being disappointingly average. It wasn't a dismal experience, and there were many moments to be savoured, but it's no classic. Since this was an adaptation of Meera Syal's celebrated novel, it should have been sensational. Not to be, I'm afraid. The one big problem I did have with the film was how, in a way, amateurish it all was. The sentiment and spirit of what could have been a touching story was lost by numerous poor factors. The performances were a mixed bag, ranging from the wonderful to the abysmal. Chandeep Uppal doesn't make a great impression as Meena. Since her character has the task of carrying the film and bringing us into her world, there has to be a level of sophistication, regardless of whether she may be twelve or eighty. Uppal's narration is monotonous and dreary, and there's barely any emotion to be seen on her face throughout. Anna Brewster manages to fare worse as Anita. It's hard to take that she has enamoured Meena, since she is nothing but wooden at all times. Since they are the central characters, they need to be interesting, yet turn out to be anything but. The supporting cast, in contrast, are excellent, but not given nearly enough time to shine. Sanjeev Bhaskar and Ayesha Dharker are effective as Meena's parents, Max Beesley makes a brief but amusing appearance as a local rocker, and Meera Syal and Omid Djalili are hilarious as Meena's overbearing aunt and uncle. But the best performances, naturally, come from Kathy Burke and Lynn Redgrave. Burke's appearance is fleeting, but lights up the whole affair as Anita's acid-tongued mother. Redgrave is also sumptuous as the local shopkeeper, who despises the reverend's attempts to set up a charity fund for babies in Africa and delights in showing Meena postcards from her daughter's travels. Whilst the piece is set in the early '70's, it is only fitting that there should be an appropriate soundtrack. Even though the chosen songs are good, they become unbearable at times. They cloud over the rest of the film, and are totally out of place at times. The direction is fine, if not perfect, and overall, Anita & Me ends up being a passable slice of entertainment. It's a shame really, as it could have been so much more. While this hasn't been the biggest disappointment I've had regarding a film this year, it's still not a memorable one. A nice film, but not spectacular.

Lyricist Harmony insists on wallowing in misery eons after being unceremoniously dumped by his girlfriend. While the members of Harmony's family are long over his antics, that doesn't stop him from milking his heartbreak and telling his tale of woe to anyone who will listen.

After standing in as best man for his longtime friend Carl Petersen, Randy Dupree loses his job, becomes a barfly and attaches himself to the newlywed couple almost permanently -- as their houseguest. But the longer Dupree camps out on their couch, the closer he gets to Carl's bride, Molly, leaving the frustrated groom wondering when his pal will be moving out.

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

電気や水道のない山で狩猟生活を送る東出を1年間記録した本作。作中では、自分で獲った鹿やイノシシを食べ、地元の人々と触れ合いながらも、混沌とした気持ちや葛藤を抱える彼の姿が映し出されていく。