Romance

Scruffy but irresistibly attractive Yau Muk-yan, without a job or a place to live, moves in with sensitive, shy piano tuner Chan Kar-fu. Both are disturbed, then obsessed, by the amateurish piano playing of upstairs neighbour Mok Man-yee. Obsession turns to romance, and romance to fantasy. The film is structured in four "movements": two themes (Yau Muk-yan, Mok Man-yee), a duet (Yau Muk-yan & Mok Man-yee), and a set of variations (a wild fantasy of Chan Kar-fu in his new novel).

The time is the Russian Revolution. The place is a country burdened with fear - the midnight knock at the door, the bread hidden against famine, the haunted eyes of the fleeing, the grublike fat of the appeasers and oppressors. In a bitter struggle of the individual against the collective, three people stand forth with the mark of the unconquered in their bearing: Kira, who wants to be a builder, and the two men who love her - Leo, an aristocrat, and Andrei, a Communist. In their tensely dramatic story, Ayn Rand shows what the theories of Communism mean in practice. We the Living is not a story of politics but of the men and women who have to struggle for existence behind the Red banners and slogans. It is a picture of what dictatorship - of any kind - does to human beings, what kind of men are able to survive, and which of them remain as the ultimate winners. What happens to the defiant ones…

Sophie is the survivor of Nazi concentration camps, who has found a reason to live in Nathan, a sparkling if unsteady American Jew obsessed with the Holocaust. They befriend Stingo, the movie's narrator, a young American writer new to New York City. But the happiness of Sophie and Nathan is endangered by her ghosts and his obsessions.

Director Green returned to his native Poland from America to produce this, the most commercially successful musical in the history of the Yiddish cinema. Starring Molly Picon, consummate comedienne of Yiddish theater, vaudeville, and film. This is the classic folk comedy about a man and his daughter who, penniless, decide to become travelling musicians. The daughter disguises herself as a boy to relieve her father's anxiety about unforseeable problems that could befall a young woman "out in the world"….

Romance and heartbreak walk hand-in-hand when Philip Chagal accidentally meets Helen Lawrence in a restaurant where she is a waitress. Unhappily married to a woman who suffers from mental illness, he is attracted to her and they make a date to go sailing, arriving at Philip's country home just as a storm is breaking. Helen learns who he is for the first time, a celebrated-and-famous concert pianist and, falling in love with him, decides to leave before matters go further. A hurricane hits and their car is crippled by a falling tree…..

In a world that consists of two planets existing one on top of the other, joined by an enormous tower, Adam (Jim Sturgess), who lives in the Below world, sees The Lottery on television, a show that offers people from their world the chance to live Up Top, in luxury and safety. The girl announcing the winner is his childhood sweetheart, Eve (Kirsten Dunst), and he decides to reconnect with her. In order to do so, he gets a job at the Transworld Patents and Inventions Department, where his plan is to sell his greatest invention and move into the world that Eve inhabits so he can find her.

Young English girl Nikky and her aunt arrive at the Moon-Spinners, a hotel on Crete, to a less than enthusiastic welcome. The coolness of the owner is only out-done by the surliness of her brother Stratos, recently back from London. But then there is nice English lad Mark to make friends with, at least until Stratos and his pal take a shot at him one night. When Nikky helps him hide she finds the Greeks are after her too.

On the eve of World War II (1939) English officer Ralph Denistoun is in Nazi Germany on an espionage mission to recover a poison gas formula from Prof. Krosigk. He is helped by Lydia and her band of gypsies. Naturally romance develops along the way.

His films have been called raw, outrageous, sensational, and daring. In four decades of directing, Samuel Fuller created a legendarily idiosyncratic oeuvre, examining U.S. history and mythmaking in westerns, film noirs, and war epics.

The poignant, deadpan films of Aki Kaurismäki are pitched somewhere in the wintry nether lands between comedy and tragedy. And rarely in his body of work has the line separating those genres seemed thinner than in what is often identified as his “Proletariat Trilogy,” Shadows in Paradise, Ariel, and The Match Factory Girl.