Edmond

Murad and Masha decide to get married, but before they achieve this goal, life has some unbelievable and sad stories in store for them.

Aniela has lived the first half of her life as a man: with an office job, a wife, and two children. But neither her family's opposition nor repression by the government in Poland can stop her from finally becoming the person she's always been.

"Maintenance by any Means" is about two maintenance men vying for the position of maintenance supervisor in an apartment complex. The maintenance men must compete with each other in order to get the job left open by the former Maintenance Supervisor. They need evaluations by the people who live at the apartments for every work order they finish. The problem is the renters themselves. Each one they run into has their own set of interesting problems. The maintenance men soon discover that a positive review may be hard to come by. Fixing broken down items in the apartments is the least of their worries. Finally one of the maintenance men must win the contest, by any means.

LIVE; THEATERSEIZOEN '82/'84: 'Urbanus Live' werd in opdracht van Urbanus Nederland opgenomen tijdens twee uitverkochte voorstellingen in de Agnietenhof van Tiel op 4 en 5 februari 1983. Deze opnamen werden samengevat voor televisie en uitgezonden door de Vara in 1983 en in 1984. Dit is de volledige, ongeknipte versie van deze twee succesvolle uitzendingen via Vara en tevens een aardige weergave van het theaterseizoen 1982-1983 in Nederland en 1983-1984 in België. IN 'T ECHT: Deze theatershow van Urbanus was een ware triomf in de Belgische- en Nederlandse theaters, waarbij records sneuvelden wat bezoekersaantallen betreft. In Nederland werden ruim 200 voorstellingen gegeven, waarvan drie shows in Carré in Amsterdam. Geen enkele buitenlandse artiest deed hem dit na. In Vlaanderen was het niet anders. In alle grote theaters vonden meer dan twee voorstellingen plaats en Antwerpen leverde een record op van meer dan 15.000 bezoekers.

Reliving all of John Cena's classic feuds, from his early confrontations with Eddie Guerrero and Chris Jericho to career-defining battles with Shawn Michaels, JBL, Triple H, Batista, Randy Orton, CM Punk and The Rock.

The short registers a sports spectacle of great importance (probably of soccer). We never see the spectacle itself but the people watching and reacting at the stadium.

Our old lodge brothers are celebrating their 25th anniversary this year. This is being celebrated with the release of their eighth show! The show was recorded over two evenings in April and has now been edited down to just under two hours of fantastic (sultry) entertainment. The show covers a wide range of topics, and this year we meet the Little Mermaid, the Egtved Girl, the Grovbollemanden, and H.C. Andersen. The show also offers a reunion with Olsen, Meyer, Emma, and pet shop owner Clausen from Huset På Christianshavn itself. In addition, we will see old acquaintances such as Fjertomanen, and we will attend the funeral of Dorthe and Grethe at Gyllegården...

A young Caribbean immigrant mother struggling to make ends meet at her dye factory job finds a release through her abandoned dream of dance.

Shot in Havana and processed at Phil Hoffman's Film Farm, Marcel Beltrán Fernández's Casa de la noche explores those same histories from the point of view of an insider, as a lived experience that is evocatively mirrored through ripped and torn celluloid.

The great French actor, Marcel Dalio, who has the lead role in Jean Renoir's THE RULES OF THE GAME, also appears in Renoir's GRAND ILLUSION. In both films he plays a character who is Jewish, as Dalio was in real life. In fact, in most of the French films he's in the 1930s, he almost always plays shady characters, informers, blackmailers and gangsters. In other words, he is always "the Jew." When the Nazis invaded France in 1940, he fled to America and appeared in CASABLANCA and TO HAVE AND HAVE NOT. In America, he was no longer the Jew but The Frenchman. He became, in dozens of films, America's idea of a typical Frenchman. His film career has these two strands in which he has two different identities. Are you defined by other people and their perceptions of who you are? Are you always a creation of the way people want to see you? Or can you exist outside of the arbitrary boundaries which are placed on you?