Im Schatten des Pferdemondes

Two convicts—a white racist and an angry black man—escape while chained to each other.

A painter facing a creative block arranges to spend the weekend in the country at his mistress's villa. While staying there, his sanity begins to disintegrate.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.

An independent woman can't choose between the two men she loves.

Two thirtysomethings, unemployed former alcoholic Joe and community health worker Sarah, start a romantic relationship in one of the toughest Glasgow neighbourhoods.

The Marx Brothers are employed at a hotel in postwar Casablanca, where a ring of Nazis is trying to recover a cache of stolen treasure.

A hard-nosed Chicago journalist has an unlikely love affair with an eagle researcher.

Desperate to escape his mind-numbing routine, uptown Manhattan office worker Paul Hackett ventures downtown for a hookup with a mystery woman.

Bill Meceita, a boy whose family was murdered in front of him by a gang, sets out 15 years later to exact revenge. On his journey, he finds himself continually sparring and occasionally cooperating with Ryan, a gunfighter on his own quest for vengeance, who knows more than he says about Bill's tragedy.

Hopkins’ career has spanned several decades, which is why we will also use many interviews that he gave throughout his life, allowing us to put him back into the context of each period and will be helpful in understanding his role in the history of cinema, because he was far from following the trends. He never belonged to any film movement; he is a chameleon that has always preferred natural acting, ‘non-acting’ when method acting was the fashion.

Six vignettes pit an assortment of characters against each other in everyday situations.