İnsanları Seveceksin

In a corrupt city, a small-time gangster and the estranged wife of a pot dealer find themselves thrown together in an escapade of love, money, drugs and danger.

An airline pilot pursues a live-in babysitter at his hotel and gradually realizes she is not as stable as perhaps she should be.

He is Kikuji Murao (Etsushi Toyokawa), a former best-selling novelist who has had a decade-long dry spell that has reduced him to university teaching and magazine hackery. After divorcing his wife (Reiko Takashima) and leaving behind his teenage daughter (Shihori Kanjiya), he meets Fuyuka Irie (Shinobu Terajima), a housewife and mother of three who is a longtime fan.

After a relaxing anniversary cruise, Andrea and his wife Barbara are dropped off in Istanbul, Turkey. There, they meet Andrea’s reserved assistant Silvia and his Turkish colleague Omar, who hasn’t been back to his home country in fifteen years. Andrea’s secretary has arranged a luxurious seafront villa for them to stay in while they’re in the country. Upon arriving at the villa, Omar experiences an unsettling feeling of déjà vu, as though he has been in the house before, while the married couple can’t stop bickering. However, the vacation soon turns into a nightmare when mysterious and deadly events begin to unfold.

Stage director Frank Castorf “might have been born to direct From the House of the Dead” (Opera Today). His gritty, visually striking adaptation brings bold modern and postmodern touches to Janáček’s masterwork without ever overshadowing the intense forward momentum of the music, conducted to dramatic perfection by Simone Young and sung by an all-star cast in Munich. Janáček adapted Dostoevsky for this powerfully compelling opera set in a Siberian prison camp, full of starkly contrasting moods and motifs, unusual in its episodic structure. The last opera Janáček ever composed, its third act was on his desk when he died in 1928; attempts by his students to “complete” his orchestration have largely fallen away over the decades in favor of the original version. Despite the grimness of the setting and the brutality of several characters, the composer’s compassion shines through in tender moments, movingly illustrating his motto for the work: “in every creature, a spark of God.”

North Africa, World War II. British soldiers on the brink of collapse push beyond endurance to struggle up a brutal incline. It's not a military objective. It's The Hill, a manmade instrument of torture, a tower of sand seared by a white-hot sun. And the troops' tormentors are not the enemy, but their own comrades-at-arms.

A doctor is wrongly convicted of murder and sent to prison.

A house by the sea has stood vacant for many years, after misfortune befell several owners, which an artist painting the house explains to a passergy. A cross-editing of principal material from two Chilean films, LA CASA ESTA VACIA and LA DAMA DE LA MUERTE, with the addition of new American-made footage, to create a single story.

A gangster escapes jail and quickly makes plans to continue his criminal ways elsewhere, but a determined inspector is closing in.

Two deadbeat photocopier technicians discuss their recently deceased boss, who has been found dead the morning of. The conversation turns sour and some sinister and bizarre truths are revealed.

A European prince terrorizes the local peasantry while using his castle as a refuge against the "Red Death" plague that stalks the land.