Wall Street business executives Bowers and his assistant Lisa get stuck in an elevator where the lingo of commerce is transformed into the language of love.

A day at a group home for troubled adolescents. Denim is the head counselor, involved somehow with Natalia, another counselor. During the day, we watch them and other staff deal with a boy who's getting into fights though he has only a week to go before his 18th birthday, a girl whose birthday it is, a foul-mouthed lad, and others. Denim uses music to calm one youth, orients a new staff member, sneaks a marijuana cigarette during a break, and by the day's end, talks to Natalia. Do any of us have it together?

A behind the scenes from film Short Term 12

Plot unknown.

暂无剧情简介

A young man is madly in love with his mother, until he discovers a horrible truth about her sexual behavior.

Ryuuzaki (Ryudo Uzaki), a former ace pitcher for a Yokohama pro baseball team, was forced into retirement after a yakuza-linked game-fixing scandal and left the city behind. Fifteen years later, he returns upon learning that his estranged daughter and grandson have been murdered—both shot dead after witnessing a hitman at a crime scene. Consumed by grief and rage, Ryuuzaki vows revenge. Seeking help through old connections, he receives firearms training from Saigami (Hitoshi Ozawa), a former yakuza. As Ryuuzaki arms himself for violence, the hollow fire in his heart is reignited. A bleak tale of vengeance, solitude, and sorrow—told through the quiet, heavy presence of Ryudo Uzaki.

A divorced woman falls in love with a mentally-disabled man, but his family objects to their relationship.

While dealing with a controversy that has tarnished his image, Philippe Lamarck, a brilliant Michelin-starred chef with a complicated personality, walks through the doors of La Belle Étincelle restaurant to take charge of the kitchen. What he doesn't know is that this restaurant is unlike any other. Virginie, the manager, has set up an inclusive restaurant and hired only young people with cognitive disabilities so that her son Noé, who has autism, can fulfill his dream of becoming a chef.

The director writes: “We are not meant to live without sadness. Sadness for humans not knowing how to be human. It is 1922. What was he thinking? What are they thinking now? He comes home to ask for water and his mother doesn’t recognise him anymore. What difference does it make? A century has passed, and nothing has changed”. A dadaistic cinematic essay like a river of time, that shows respect to Buñuel. Filmed in analogue and dispersed through images of body parts, a couple close together, leisurely observations, animal skulls, and changing nature – a nova terra, or new world, seems to be thus revealed. The director’s voice sounds out from behind the camera, capturing us, making us want to join in and ask questions.