A chamber orchestra is working out of a rundown theatre in Reykjavik. Financial hardship places a great strain on the band and the lead violinist, Sigrun. The annual grant from the city is coming to an end so the band hires a world renowned cellist in order to save the band. The media goes wild and money starts to flow to the band again. Too bad the cellist is not a very nice person – he is quite the assgrabber and a two faced cheater. Too late to fire the star and the grand concert that will save the band is about to begin when the cellist chokes to death – 15 minutes before the concert. The band decides to risk it all and play the concert with a dead solo artist – not really thinking about how to end such a macabre show.
Colombian music icon Juanes plays Moisés, the eldest of three brothers plying this perilous trade and the linchpin of the operation, while Alberto Guerra delivers a compelling performance as Ulises, a man paralyzed by conflicting decisions and haunted by fear and grief. When Juan (Alejandro Speitzer) — the youngest of the brothers — is coerced into working for a more powerful, rival criminal organization, the shocking underbelly of the business is laid bare and there are tragic consequences.
A practical joke ends up very wrong in Nigina Sayfullaevas curious youth drama. Two seventeen year old Moscow girls, Olya and Sasha, are visiting Olya's long lost father who lives in Crimea, when they decide to switch places and pretend to be the other person to the father. Little do they know that their joke comes with consequenses that will change their lives forever.
根据真实事件,印度尼西亚巴厘岛发生抢劫案,四名来自国外的专业银行劫匪和ATM机破坏者在巴厘岛横冲直撞。劫匪闯入一家钱币兑换中心的办公室后,将多名职员殴打至昏迷不醒。这些职员清醒后,发现嘴巴被贴上胶纸,他们自行脱身后向警方报案。巴厘岛警方正在紧追不舍地追捕劫匪。这几名劫匪非常的有经验,准备充分,下手迅速。还没等警方及时出警,他们就已经消失了。而且这伙匪徒十分的贪婪,另外多次策划了其他的抢劫案。不过在警长西卡的努力侦破下,警察很快发现了劫匪的漏洞和行踪。并且提前预判了了劫匪的下一个行动目标。就在劫匪们兴高采烈的开始新一次的抢劫时。警方赶到现场时,发现劫匪的行踪,立即展开追捕行动……
土耳其举重运动员奥运会冠军奈姆•苏莱曼诺古传记。
Andrea Absolonová was a talented Czech professional diver with a bright career ahead of her. However, her sports career had been cut short by a spinal injury during a training session at the Atlanta Olympic Games. She then embraced a professional career in the adult entertainment industry, where she became an internationally recognized porn actress. She died at the age of 27.
Em A Porta ao Lado, Rafa (Dan Ferreira) e Mari (Letícia Colin) vivem um relacionamento tranquilo e estável, monogâmico, dentro dos moldes mais tradicionais. Juntos há mais de cinco anos, os dois se acostumaram com a rotina e a monotonia da vida de casados, sem muitas aventuras. Mas quando Fred (Túlia Starling) e Isis (Bárbara Paz), um casal que vive um relacionamento aberto, se muda para o apartamento ao lado, Mari acaba sendo levada a questionar seu casamento e considerar outras formas de se relacionar. O encontro entre os dois casais provoca desejos, dúvidas e inseguranças, transformando completamente a vida dos quatro.
¿How far does a soccer fan go for his beloved national team? Mariano Cárdenas (Adrian Uribe), a married man and a civil servant, shows us that crossing the line when supporting the national team is a must. Mexico and the USA are in the final qualifying match for the 2018 World Cup. Mariano is committed to giving everything he has, including his time and relationship with his wife, to be present in the game because he is convinced that his presence in the stadium is the only thing factor that will guarantee the victory. Everything is ready and organized for the big day. Unfortunately, plans change when Mariano learns of the death of his uncle, with whom he lived and with whom he wagered a large bet on the team. Mariano is torn between being at the funeral or escaping to accompany the team. Thanks to the decision he makes, he loses his job, his wife, his home but his heart is full as Mexico qualifies for the World Cup.
Piotr Czarny is a charming thirty-something lawyer. He is constantly chasing adrenaline, women and parties. His goal was to fill the list of mistresses with names for every letter of the alphabet. His plan is put in jeopardy when a colleague, Olga - the only woman he's completely honest with and doesn't sleep with - gives him an ultimatum.
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.