El monumento

Paris, France. Commissaire Wens is put in charge of the investigation into the murder of one of six friends who, in the past, made a very profitable promise.

While a group of young actors rehearse a new musical about a mass murderer, a notorious psychopath escapes from a nearby insane asylum.

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

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.

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

Low-budget independent filmmaker Nick Reve tries to keep everything together as his production is plagued with an insecure actress, a megalomaniac star, a pretentious beret-wearing director of photography, and lousy catering.

Posing as hunters, a group of terrorists are in search of $100 million that was stolen and lost in a plane crash en route from Afghanistan.

Ugo Fantozzi was resurrected from the company where he worked because of a crisis, how it will end?Tenth and final chapter of the film series of Fantozzi character.

Remo's self-destructive behavior overshadows his talent. Abril, an upcoming jockey, is pregnant with Remo's baby and has to decide between the child or continuing to race. They both race for Sirena, a businessman who saved Remo's life in the past but now is determined to find him, dead or alive.

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

As Australian cinema broke through to international audiences in the 1970s through respected art house films like Peter Weir's "Picnic At Hanging Rock," a new underground of low-budget exploitation filmmakers were turning out considerably less highbrow fare. Documentary filmmaker Mark Hartley explores this unbridled era of sex and violence, complete with clips from some of the scene's most outrageous flicks and interviews with the renegade filmmakers themselves.

Ava, an award-winning chef at a big-city restaurant, has lost her spark. Her boss sends her out to find herself to save her menu and her job. She returns home and finds little to inspire her, but when she reunites with her childhood friend Logan, Ava has to get her head out of the clouds and her foot out of her mouth to rediscover her passion for food.