A doomsday pepper is surprised to find a mysterious box appear in his living room with no trace as to how it could've gotten there.

A man is painting a landscape. A woman is holding two cups. What can go wrong? A nightmare in pink.

TV Special converting a Disney fan's house into their dream home.

The execution was scheduled and the last meal consumed. The coolness of the poisons entering the blood system slowed the heart rate and sent him on the way to Judgement. He had paid for his crime with years on Death Row waiting for this moment and now he would pay for them again as the judgment continued..

A Broadway actress uses her sex appeal to ruin a marriage only to dump her lover for a richer prospect.

Aitana's concert at the Palau Sant Jordi, within her first major tour in which she presents "Spoiler". After passing through the successful edition of OT 2017, Aitana has established herself as one of the voices with the most personality of current Spanish pop.

Irene est une femme d'âge moyen qui va à la consultation du Dr Cano qui l'a informé qu'il a une maladie en phase terminale. En partant, il répond Jorge est dans la même situation, les deux ont quelques mois. Cependant, ce qui semble une fin devient le début d'une aventure romantique inhabituelle.

How to film a word? How to hear a photograph? How to tell a lifetime of love in just 26 words? In searching out the sense of beauty, the border between the real world and that of reverie, fascinated by the dreamlike universe of the French photographer Guillaume Poussou -and who knows- maybe also by the photographer himself, Anahit Simonian takes up her camera for the very first time and begins to dance with her eyes closed. So is born “L'Abcdaire de l'amoureuse d'un photographe”, her first film.

"Let's Get Loud" était le NBC Special de Jennifer Lopez, qui a eut lieu le 20 novembre 2002 et enregistré pendant 2 nuits à Porto Rico à l'automne 2001. C'était la toute première apparition en tête d'affiche d'un concert de Jennifer, montrant ses talents de chanteuse. et danseur. La performance comprend une variété de chansons espagnoles et anglaises, notamment : "Love Don't Cost A Thing", "If You Had My Love", "I'm Real", "Plenarriqueña" et bien d'autres.

En 1912, dans l'Empire russe, les ouvriers d'une usine sont poussés à bout par des conditions de travail éreintantes, et des espions choisis parmi le lumpenprolétariat sont chargés de dénicher les meneurs syndicalistes. Un ouvrier est accusé à tort d'avoir volé un micromètre. Sous la pression, il se pend. Ses collègues décident de se mettre en grève, mais celle-ci sera réprimée de manière sanglante par l'armée tsariste.

A film about the British Government & Terroism

The life and career of one of comedy's most inimitable modern voices, Mr. Gilbert Gottfried.

19-year-old Teo, an aspiring writer who has grown up worshipping the likes of John Fante, Bukowski and Luciano Bianciardi, suddenly finds himself in dire need of becoming financially independent in the wake of his father's health problems, jeopardizing his studies and future.

À Kuala Lumpur de nos jours, Qiang, un jeune homme d’une trentaine d’années, se démène pour s’occuper à la fois de sa mère qui souffre d’une maladie mentale et de Hui Shan, son adorable petite soeur de 5 ans. Un jour, un événement dramatique va le plonger dans l’enfer de la bureaucratie malaisienne.

Unable to move on from a breakup, Gabi, a queer Latina freelance editor, impulsively drops into an old job at an underground lap dance party, where she unexpectedly runs into a friend from her past.

Pendant la Renaissance, en Italie, l'écrivain Giovanni Boccace est à la recherche de son grand amour, la veuve Fiametta. Celle-ci résidant chez la comtesse de Firenze, Boccace est invité à séjourner dans la demeure et invente trois histoires pour divertir ces dames.

The Red Mountain Tribe hangs out in my backyard. "Lipton's lovely home movie PEOPLE, in its affection for valuable inconsequential gestures, indicates in the course of its three minutes why there has to be a continuing alternative to the commercial cinema." – Roger Greenspun, The New York Times