A history of this vital underclothing, from the Jogbra invented by friends Lisa Lindahl, Hinda Miller and Polly Smith to its biggest moment -- Brandi Chastain's triumphant reveal after the United States won the 1999 World Cup.

A comedy writer's need for approval leads him to a wonder elixir that bends his world into a surreal landscape of comedy tropes, which forces him to explore his own worth outside the writer's room.

Documentary about the turbulent life, writings, and activism of philosopher Herbert Marcuse, visionary force for the youth movements worldwide during the '60s and 70s.

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This outrageous comedy stages a soap opera of epic proportions, as one corrupt property developer faces trial for Mexico's violent history. The fourth feature from Santiago Mohar Volkow, Una historia de amor y guerra centres on real estate baron Pepe Sánchez-Campo, whose mega-mall development brings him into conflict with local guerrillas. For once, bribery and a call to Daddy might not be enough to save Pepe – a character more grotesque than the telenovela unfolding around him. Trying to sabotage Pepe's marriage to Constanza, her cousin and lover Teo records Pepe cheating. The resulting chaos precipitates in a burlesque bloodbath involving treachery, talking animals, colonial history and bartering in the afterlife.

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Maria Schell (Sophie) and Paul Scofield (Alexander) turn in magnificent performances as former patients of Freud who meet for the first time in Vienna in 1970. Sophie convinces a wary Alexander to meet after she sees him interviewed on TV about his experience with Freud. In their one-day encounter, in a reluctant Alexander's cluttered apartment, the two sit down to talk. 　　Sophie is now a divorced New Yorker of nearly 70, Alexander is a lonely widower; both still harbor resentment of Freud's treatment of their youthful "problems." Their personal narratives, shown in flashback, are poignant; Freud is an unseen but vivid presence in the therapy scences.

Maria Schell (Sophie) and Paul Scofield (Alexander) turn in magnificent performances as former patients of Freud who meet for the first time in Vienna in 1970. Sophie convinces a wary Alexander to meet after she sees him interviewed on TV about his experience with Freud. In their one-day encounter, in a reluctant Alexander's cluttered apartment, the two sit down to talk. 　　Sophie is now a divorced New Yorker of nearly 70, Alexander is a lonely widower; both still harbor resentment of Freud's treatment of their youthful "problems." Their personal narratives, shown in flashback, are poignant; Freud is an unseen but vivid presence in the therapy scences.

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