A murderer on parole victimizes a family against whom he holds a grudge.

Valdis Nulle is a young and ambitious captain of fishing ship 'Dzintars'. He has his views on fishing methods but the sea makes its own rules. Kolkhoz authorities are forced to include dubious characters in his crew, for example, former captain Bauze and silent alcoholic Juhans. The young captain lacks experience in working with so many fishermen on board. Unexpectedly, pretty engineer Sabīne is ordered to test a new construction fishing net on Nulle's ship and 'production conflict' between her and the captain arises...

Lalou works as a shepherd in the mountains with his friend Clara, who came to take care of the herd before her leaving for the army. Next day, Lalou goes to a remote hotel where he secretly meets up with Harmony, an android he madly loves.

Destination X (2011) was a professional wrestling pay-per-view (PPV) event produced by the Total Nonstop Action Wrestling (TNA) promotion, which took place on July 10, 2011 at the Impact Wrestling Zone in Orlando, Florida.[2] Destination X was promoted with the tagline "Forward to the Past", as an all X Division event to commemorate the division that helped pave the way for the company long-term by bringing in popularity with its extraordinary athletic showcases. It was the seventh event under the Destination X chronology—first to be held in July—and the seventh event of the 2011 TNA PPV schedule.

A criminal psychiatrist investigates the murder of a two-time widower.

Iran, 1984. Homeless brothers struggle to survive in a country at war.

Banerjee stars as Ram Das, a jobless Indian man who, tired of life in Calcutta, steals money from his father in order to afford a passage to Britain and while there, falls in love with a white woman.

Vasantasena, a courtesan who dances at the King Palaka's court hides in Charudatta's house while running away from the amorous attentions of the king's brother-in-law. She falls in love with Charudatta, though he is married and penniless.

A retelling of Romeo and Juliet in Jerusalem involving a Palestinian woman and an Israeli man.

Chakravarthy and Kalyan are brothers. Chakravarthy is a noble and hardworking business magnate. Kalyan is an irresponsible brat who doesn’t even care if a person is killed because of him. Kalyan loves Sneha at the first sight and irritates her though she tells him that she doesn’t love him. In the process, Kalyan inadvertently kills the father of Sneha. And Sneha seeks the entire property of Chakravarthy to withdraw police complaint against kalyan. The rest of the story is about how Kalyan learns about life and responsibility from Chakravarthy and wins everybody’s heart.

Screen titles introduce the film as a modern artist's impressions of what goes on in the mind while listening to music. Grieg's "Peer Gynt Suite" accompanies images of common objects and abstract forms photographed in soft focus and through prisms: rings, pyramids, the staff of musical notes, and floating lights are all seen in multiple images, sometimes as if through a kaleidoscope, other times as if in animation. Images appear and patterns move across the screen. Sparklers celebrate at the film's end.

"La Biennale di Venezia: il cinema al tempo del Covid" is a video diary, produced by the Venice Biennale in collaboration with Rai Cinema and the Istituto Luce Cinecittà, of what went on "backstage" at the 2020 Venice Film Festival, held under the restrictions imposed by the safety protocols required by the covid-19 pandemic.

A female marshal goes undercover on a deathtrap starship to prevent a terrifying alien invasion.

There is a belief in Thailand which requires relatives to put coins inside the mouth of the deceased so that they can move on to the afterlife. However, there is a group of reckless and irresponsible teenagers who keep stealing the gold coins from the deceased. Consumed by their own greed, the teenagers then set out to steal from a millionaire's corpse who had a mouthful of gold coins and their action somehow angers the dead man. Later, the group of teenagers then encounter various horrifying situations as the spirits of the man returns to haunt them.

A young man wanders and makes calls to elders who live alone. Saying “Granny, it’s me,” he lies to them that he is their grandson. An old lady, who runs a music shop in the declining shopping area in Amakusa, answers his call and warmly accepts him. Pretending as her grandson, he settles down in the town. He gets used to his friendship with young villagers, the sound and landscape of Amakusa, and the old lady’s everyday life.

Drifting clouds. They are not nice little clouds that invite us to interpret them symbolically; rather they are poisonous and unhealthy clusters, a skin rash of the sky, an impenetrable gray curtain of smog. This is a trailer of impressive tranquility and simplicity. A second look, however, opens up new dimensions: Are there not – as so often the case in Gehr’s work – unsuspected, amorphous forms that manifest themselves? Has an event scurried quickly past us while we were still busy discovering the mysterious in the seemingly obvious? In fact, these are two trailers in one: a palimpsest of the cinematographic pleasure of mystification.