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Canadians "Hanna" (Julia Garner) and her best mate "Liv" (Jessica Henwick) take jobs working in a remote outback bar where they are expecting to make some extra cash to fund their holiday. They arrive, though, to discover that the "Royal Hotel" is anything but royal.... It's run by the curmudgeonly "Billy" (Hugo Weaving), his long-suffering friend "Carol" (Ursula Yovich) and is largely populated by lively, chauvinist, blokes who are partial to some "Dickens" cider... The girls are clearly out of their depth initially, but can they find a way to assert themselves in the face of increasingly unambiguous sexually threatening behaviour? Daniel Henshall's slightly menacing "Dolly" becomes chief amongst their protagonists, but there is also the slightly manipulative "Matty" (Toby Wallace) and their alcoholic boss to contend with too. I'm not quite sure what I was expecting here. Clearly the toxic mix of raging male hormones and pretty much unlimited booze creates a fairly hostile environment for the women, but the story sort of plateaus aground a denouement that really disappoints. There's nothing really new here, nor is there anything particularly innovative. It plays rather unkindly to mid-Australian stereotype and sort of fizzles out at the denouement. It had potential, but somehow Kitty Green seemed uncertain as to how to conclude and so we end up with something unremarkable and frankly rather weak. Garner and Henwick are adequate, but that's about all I can say about this mediocre offering, sorry.
Anaïs is twelve and bears the weight of the world on her shoulders. She watches her older sister, Elena, whom she both loves and hates. Elena is fifteen and devilishly beautiful. Neither more futile, nor more stupid than her younger sister, she cannot understand that she is merely an object of desire. And, as such, she can only be taken. Or had. Indeed, this is the subject: a girl's loss of virginity. And, that summer, it opens a door to tragedy.
Bridget Jones is an average woman struggling against her age, her weight, her job, her lack of a man, and her various imperfections. As a New Year's resolution, Bridget decides to take control of her life, starting by keeping a diary in which she will always tell the complete truth. The fireworks begin when her charming though disreputable boss takes an interest in the quirky Miss Jones. Thrown into the mix are Bridget's band of slightly eccentric friends and a rather disagreeable acquaintance into whom Bridget cannot seem to stop running or help finding quietly attractive.
The film follows Kamala, a young woman from Chitkul village and her girl child Manya, who embarks on a journey leaving their native land in search for her missing husband. Along this journey she encounters Nawazudin, a free spirited army deserter who helps them to get to their destination with his own selfish motive.
During the making of a video film about a communist printing press, a union member and a leftist activist discuss how to present their information, especially how to caption two specific images: one of a protest in Portugal, the other of a strike in France. One of them decides to write to his son, a manual worker living outside of Paris with his girlfriend, telling the young man about his troubles.
On a desolate Navajo reservation in New Mexico, three young people – a college-bound, devout Christian; a rebellious and angry father-to-be; and a promiscuous but gorgeous Nádleehi (trans person)- search for love and acceptance.
Thriller about three friends who work in an advertising agency, one of whom has a nervous breakdown. Upon her recovery, she embarks upon an affair with her former employer's husband, with deadly consequences.
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Although his alcoholism has been treated, Alain still feels he is deeply unwell and does not feel he can leave the detoxification clinic once and for all. His wife, living in New York, continues to pay for his treatment, but no longer contacts him directly. He intends to commit suicide, but first takes a ride to Paris to catch up with old friends.
Claire and Robert spend most of their time in a house they own in the beautiful and remote countryside in Italy. Their life seems to be perfect. But when Claire's sister gets murdered in the very same house, the traumatic event shakes up their relationship. Disappointment, fear and resentment they swept under the rug for years, resurface. Revealing the dark side of a blissful love - a dream that turns into a nightmare. It is the story of two people trapped in a dark secret.
Two drag queens and a transgender woman contract to perform a drag show at a resort in Alice Springs, a town in the remote Australian desert. As they head west from Sydney aboard their lavender bus, Priscilla, the three friends come to the forefront of a comedy of errors, encountering a number of strange characters, as well as incidents of homophobia, whilst widening comfort zones and exploring new horizons.
An original mix of fiction and reality illuminates the life of comic book hero everyman Harvey Pekar.
