We don't have an overview translated in English. Help us expand our database by adding one.

Take Me is the title of a 2001 British television drama miniseries on ITV, starring Robson Green and Beth Goddard.Take Me was produced by STV Productions and Coastal. It was filmed between October and December 2000 and first broadcast in the UK on 5 August 2001. Alex Pillai was the programmes' director.

Paul Barral, mayor of a small mountain town at the foot of Mont-Blanc, is fighting to maintain business and protect the school from an announced closure. Not without determination, the Mayor may have found the solution.

一段不可能的恋情。

An impossible love affair.

A group of old friends gather for a girls’ night on New Years Eve. But as they begin to rehash old memories, many of the gripes they’ve been harboring manifest in murderous ways.

Marie-Line is juggling between odd jobs to support her agoraphobic father. Despite the precariousness of their lifestyle, she remains a lively and cheerful young woman. Yet, after a series of unfortunate events, she is fired from her job and sentenced by a judge to a small penalty. A few days later, this very judge will be in a position to help her get back on track – a chance for Marie-Line but also the beginning of an unlikely friendship.

Fragments of memories are brought to the surface by the Blue Danube Waltz, revealing the lesser-known history of the Danube – the Black Sea Canal. While borders between filmmaker and actress become blurry, languages and layers of the past intertwine. 　　„I don’t know my name. I don’t know my origins. I only have memories of a place. But I don’t know if I ever was there.” Where? Along the course of the Danube in Strauss the Younger’s famous waltz. From Germany, where the actress’ great-grandfather survived the Second World War only to later live in Eastern Berlin, to Romania, to the Danube-Black Sea Canal, where the filmmaker’s great-grandfather was part of the political prisoners subjected to hard labor by the communist regime. Starting from a beloved cliché, “The Blue Danube”, Teona Galgoțiu’s film proposes an anguishing but beautiful exercise of alienation against the great imagined common histories – including cinematic ones – championing, instead, everything that is most immediate in a human connection: touch, play, confession. (Călin Boto)

A social climber/con artist schemes to inherit one million dollars by trading identities with a dying man.