Middle-aged Hiroshi, a 53‑year‑old salaryman whose wife cheats on him and whose daughter barely tolerates him, finds himself discarded by his company and adrift—until a mysterious phone call from Mariko, his long‑lost love who supposedly died thirty years ago, pulls him into a forbidden reverie and dreams of a different life with her. Mariko, embodied by the irresistible Yōko Satomi—dressed in the provocative uniforms and iconic emblems of the old protest movements—the past awakens in tantalizing detail. As Hiroshi dials into a life he might have lived with Mariko, full of erotic promise and the intoxicating thrill of rewriting his destiny.

In this show, Neville narrates stories about his struggles with his age, bring orphaned, adulthood, death, depression, divorce and suicide. This isn't the only thing that doesn't make it a regular stand up special, it's also that he's doing sitting down. He treats his audience like is therapist and pretty much leaves them bereft of hope but bloated with laughter. It's dark, it's poignant, it's melancholic but it's hilarious. Considered one of the comics with the darkest material in India, Neville doesn't disappoint. The topics he deals with are narrated anecdotally, making them approachable. He doesn't make fun of them; he makes fun about them. Afflictions, vulnerabilities and flaws are a part of human beings and Neville takes his feelings about them, analyses and then presents them. It's a perspective of someone who is going through them. And you see him crumble and rise with each story, you can also see him going downhill.

3 young women encounter car trouble on the way to a Dragonsclaw concert during a rainstorm. They are forced to go seek help, where one by bloody one they are attacked by a masked maniac and hung on meathooks. Who will survive and what will be left of them?

We can easily say that our life is a game, not an ordinary one where you can determine the story, the space and the characters, but a game which comes with opportunities and traps, with gains and losses, a game we have to play every second, a game in which we are rooted. Sometimes we choose the virtual space in order to escape reality, but in the end it turns out to be just a way to avoid the real game, our everyday life. We see the big changes as new levels in our lives and we don't have the option to skip, our only choice is to play. So, the "Call of Pink" comes with the positive point of view that the world needs to overcome the real life levels, which we all know are the hardest to pass. Anyway, some details as creativity and fun are the things we should keep as weapons for the reality.

Virtuoso Afro-Cuban-born brothers—violinist Ilmar and pianist Aldo—live on opposite sides of a geopolitical chasm a half-century wide. Tracking their parallel lives in New York and Havana, their poignant reunion, and their momentous first performances together, Los Hermanos/The Brothers suggests what is possible when walls come down, and borders are crossed. A nuanced, intensely moving view of nations long estranged, through the lens of music and family. Featuring an electrifying, genre-bending score composed by Cuban Aldo López-Gavilán, performed with his American brother, Ilmar, with a guest appearance by violin maestro Joshua Bell and the Harlem Quartet.

Judith decides to go on her own to the salsa-dancing night, even though her boyfriend, with whom she goes there every week, can’t accompany her. A stranger, with whom she briefly dances, offers to walk her home. Next morning, upon returning home, Judith refuses at first to accept that she’s a rape victim, but in the end decides to go to a doctor and press charges - which prove inadequate to have the rapist convicted. Under the influence of sweeping bodily and mainly psychological oscillations, Judith decides she has to follow an unorthodox path in order to prove the perpetrator’s guilt.

In the last "Big Boss" (AKA "Fists of Fury"), Cheng Chao-On was arrested after killing Hsiao Mi, "The Big Boss." In this unofficial sequel, his brother, Cheng Chao-Chun, visits his brother in Thailand, finds a job at the same ice factory that his brother worked at and avenges the death of their father.

A spokesman rises to the top of the Greater Boston area spokesperson game.

A money transporter is ambushed near the small Eifel village of Eschbach. The young LKA chief inspector Lona Schanz then determined in the village and its surroundings.

A reserved young man meets an impulsive stranger on a secluded beach. Their brief friendship leaves each subtly changed.

Best friends Ruth and Megan run a vintage shop in North London. One day, their lives are forever turned upside down when an abandoned time machine appears outside their shop. Mixing reality with fantasy, we explore the strange and outlandish world of The Unreason, as the girls traverse space and time sourcing items to sell.

Four robbers take refuge in a warehouse, after a heist gone bad at Twinky Doo's Magic World, a theme park for families. There is no way out and, outside, the Police has surrounded the place. The four have an employee of the park as hostage and the warehouse is filled with fast-food muffins: the siege begins. However, the real threat is not outside.

Freeway is a 1996 American dark comedy crime film written and directed by Matthew Bright and starring Kiefer Sutherland, Reese Witherspoon and Brooke Shields. This was followed by a sequel in 1996 entitled Freeway II: Confessions of a Trickbaby. The sequel stars Natasha Lyonne as Crystal "White Girl" Van Meter and María Celedonio as Angela "Cyclona" Garcia. While the first film was partly inspired by "Little Red Riding Hood," the second film is somewhat based on "Hansel and Gretel."

Visual anthology of Celtic new age recording artist Enya. This collection contains 13 promotional music videos highlighting her career from her self-titled debut in 1987 to her 2000 album, A Day Without Rain.