Arely

　An apocalyptic event known as The Crisis has devastated David's world leaving him to rely on survival tactics learned from childhood. Isolated and alone, David has taken refuge in a tent on the edge of the wilderness. Soon enough, another survivor emerges, Mary, who immediately begins questioning David's tactics and ultimately putting them in the crosshairs of "Those Who Walk In Darkness", unseen creatures that may or may not be responsible for The Crisis. From award-winning filmmaker, Kyle Couch comes a new vision of terror and heartbreak.

John Kent (Randolph Scott), a former star football player at Harvard, goes to Paris with his friend Huck Haines (Fred Astaire) and the latter's dance band, the Wabash Indianians. Alexander Voyda (Luis Alberni) has booked the band, but refuses to let them play when he finds the musicians are not the Indians he expected, but merely from Indiana (Huck Haines and his Indianians Band).　　John turns to the only person he knows in Paris for help, his Aunt Minnie (Helen Westley), who owns the fashionable Roberta gown shop. While there, he meets her chief assistant (and secretly the head designer), Stephanie (Irene Dunne). John is quickly smitten with her.　　Meanwhile, Huck unexpectedly stumbles upon someone he knows very well. Countess Scharwenka, a temperamental customer at Roberta's, turns out to be his hometown sweetheart Lizzie Gatz (Ginger Rogers). She gets Huck's band an engagement at the nightclub where she is a featured entertainer.　　Two things trouble John. One is Ladislaw (Victor Varconi), the handsome Russian deposed prince and doorman who seems too interested in Stephanie. The other is the memory of Sophie (Claire Dodd), the snobbish, conceited girlfriend he left behind after a quarrel over his lack of sophistication and polish.　　When Aunt Minnie dies unexpectedly without leaving a will, John inherits the shop. Knowing nothing about women's fashion and that his aunt intended for Stephanie to inherit the business, he persuades Stephanie to remain as his partner. Correspondents flock to hear what a football player has to say about feminine fashions. Huck gives the answers, making a lot of weird statements about the innovations John is planning to introduce.　　Sophie arrives in Paris, attracted by John's good fortune. She enters the shop, looking for a dress, but is dissatisfied with everything Stephanie shows her. Huck persuades her to choose a gown that John had ordered discarded as too vulgar. When John sees her in it, they quarrel for the final time.　　John reproaches Stephanie for selling Sophie the gown. Terribly hurt, Stephanie quits the shop. With Roberta's putting on a fashion show in a week, Huck takes over the design work, with predictably bad results. When Stephanie sees his awful creations, she is persuaded to return to save Roberta's reputation.　　The show is a triumph, helped by the entertaining of Huck, Countess Scharwenka, and the band. (A pre-stardom Lucille Ball, with platinum blond hair, appears uncredited in her first RKO film[4] as a model wearing an elaborate feather cape, after the vocal by Dunne, in the fashion show.[5]) The closing sensation is a gown modeled by Stephanie herself. At the show, John overhears that she and Ladislaw are leaving Paris and mistakenly assumes that they have married. Later, he congratulates her for becoming a princess. When she informs him that Ladislaw is merely her cousin and that the title has been hers since birth, the lovers are reunited. Huck and Lizzie, who decide to get married, do a final tap dance sequel.

Howfarwouldyougotohaveababy?MartinCompston,SophieRundleandMirrenMackstarinthisemotionalthrilleraboutlove,trustandthetruecostofbuyingwhateveryouwant.Dan(Compston)andEmily(Rundle)arecrazyabouteachother.TheyliveinahugehouseinthenicestpartofGlasgowandwantfornothing.Butthey’vebeentryingtohaveababyforyearswithnosuccess.Whenachanceencounterbrings18year-oldKaya(Mack)crashingintoEmily’slife,anditseemsthatjustmaybe,fatehasbroughtthemtogether.Fromtheothersideoftown,Kayaisdeterminedtomakealifeforherself.ExperiencingtheluxuriousinteriorofEmily’sRangeRover,shequicklystartstogetatasteforhowtheotherhalflive.Backinherbarelocalauthorityflat,Kayadecidestochangeherfuture.ShetracksdownEmilyandmakesheranoffer:she’llbeDanandEmily’ssurrogate,iftheyhelpsetherlifeontrack.Shecanchangetheirlives,iftheycanchangehers.Butwithonlyoneembryoleft,canDanandEmilytrustateenagegirltheybarelyknowwiththeirlastchancetohaveafamily?

　　Best friends, Alex and Bryan, have a bitter fight entirely via text message when one of them sleeps with the other's crush. But, just as things seem to settle, an unexpected development may lead to yet another rift.

Howfarwouldyougotohaveababy?MartinCompston,SophieRundleandMirrenMackstarinthisemotionalthrilleraboutlove,trustandthetruecostofbuyingwhateveryouwant.Dan(Compston)andEmily(Rundle)arecrazyabouteachother.TheyliveinahugehouseinthenicestpartofGlasgowandwantfornothing.Butthey’vebeentryingtohaveababyforyearswithnosuccess.Whenachanceencounterbrings18year-oldKaya(Mack)crashingintoEmily’slife,anditseemsthatjustmaybe,fatehasbroughtthemtogether.Fromtheothersideoftown,Kayaisdeterminedtomakealifeforherself.ExperiencingtheluxuriousinteriorofEmily’sRangeRover,shequicklystartstogetatasteforhowtheotherhalflive.Backinherbarelocalauthorityflat,Kayadecidestochangeherfuture.ShetracksdownEmilyandmakesheranoffer:she’llbeDanandEmily’ssurrogate,iftheyhelpsetherlifeontrack.Shecanchangetheirlives,iftheycanchangehers.Butwithonlyoneembryoleft,canDanandEmilytrustateenagegirltheybarelyknowwiththeirlastchancetohaveafamily?

Apartisancomessecretlytotowntofindaboutwhathappenedtohislittlesonwhobarelyremembershim.Heishorrifiedwhenhefindsoutthathissonisraisedinacolaboratorsorphanage,broughtuptohatecommunistsandpartisans.Hedecidestotakehissontothefreedterritorywithhim,butwillhemanagetoescapethepolicecheckings?

Together with her father, a 17-year-old girl takes care of her mentally and physically severely disabled sister. This is becoming increasingly exhausting, as she has to sacrifice her own life and dreams. Emotions get out of control and love may easily turn into hate. How to live such a life? Is it even possible to find a compromise here? A masterful film which brings the experiences and choices of those who are forced to be in such a situation frightfully close, doing so very realistically, without pathos. This can only be done with thorough knowledge of the topic. Director Margaux Bonhomme herself has grown up in a family with a disabled person – she has taken care of her own sister. She has carried this story with her for years and has now written it with the blood of her own heart. The lead actors of the film, Diane Rouxel and Jeanne Cohendy, have just shared the Best Actress Award at the Saint-Jean-de-Luz Film Festival in France. And this is how they should be regarded – as an ensemble. Cohendy is in no respect weaker than Daniel Day-Lewis and Leonardo DiCaprio who have given us disabled person roles worthy of an Oscar or an Oscar nomination. Tiit Tuumalu

Russian operatives hijack a commercial American jet, planning to crash it into a nuclear power plant near Washington, D.C. resulting in fallout that will devastate the Eastern seaboard. With little time for Air Force fighters to shoot it down, the passengers and crew aboard the aircraft must rely on their own military and civilian training to stop the terrorists before it's too late.

Marie,anindependentandmilitantsexworkerwhohasneverneededtorelyonanyone,noteventoraiseherson.Whenthelatteristhrownoffhispost-graduatecookerycourse,Marieisunabletomakeherpeacewithit.Dreamingofagreaterfutureforhim,shedecidestosignhimupforoneofthebestcookeryschoolsinFrance,butherincomewon’tcoverthetuitionfees.She...

　　Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.