Only When i Laugh

In his controversial masterpiece The Great Dictator, Charlie Chaplin offers both a cutting caricature of Adolf Hitler and a sly tweaking of his own comic persona. Chaplin, in his first pure talkie, brings his sublime physicality to two roles: the cruel yet clownish “Tomainian” dictator and the kindly Jewish barber who is mistaken for him. Featuring Jack Oakie and Paulette Goddard in stellar supporting turns, The Great Dictator, boldly going after the fascist leader before the U.S.’s official entry into World War II, is an audacious amalgam of politics and slapstick that culminates in Chaplin’s famously impassioned speech.

NANCY, PLEASE tells the story of Paul Brawley, a gifted PhD candidate at Yale University. Paul has just moved into an apartment with his pragmatic girlfriend, Jen, and is struggling to complete his dissertation before embarking on a career in academia. There's just one snag: as Paul is unpacking his belongings, he discovers that something has been left behind. A seemingly inconsequential object, but one Paul feels is of great importance to his dissertation and, therefore, to his future: a battered, personally annotated hardcover copy of 'Little Dorrit' by Charles Dickens. He will have to retrieve it from his former roommate - the obstinate Nancy. As he becomes increasingly consumed with the retrieval of 'Little Dorrit', Paul's relationship and career unravel.

In the Eighteenth Century, in a small village in Ireland, Redmond Barry is a young farm boy in love of his cousin Nora Brady. When Nora engages to the British Captain John Quin, Barry challenges him for a duel of pistols. He wins and escapes to Dublin, but is robbed on the road. Without any other alternative, Barry joins the British Army to fight in the Seven Years War. He deserts and is forced to join the Prussian Army, saving the life of his captain and becoming his protégé and spy of the Irish gambler Chevalier de Balibari. He helps Chevalier and becomes his associate until he decides to marry the wealthy Lady Lyndon. They move to England and Barry, in his obsession of nobility, dilapidates her fortune and makes a dangerous and revengeful enemy.

A greedy man tries to get rid of his mother by putting her in an old folks home until he discovers she has a fortune in stock certificates.

Saigon in the 1950s: Mui, a 10-year-old peasant girl, has come to serve a rich family. A discreet, almost invisible spy, she learns their secrets - the husband runs the household to ruin. Ten years later, she moves on to a more modern home where the young master chooses her over his Westernized fiancée. He teaches her to read, but doesn't really remove her from the kitchen. Tran Anh Hung, a Vietnamese raised in Paris, has made a hymn to subservience riddled with symbols. The papaya of the title is picked by servants: when ripe it is a fruit, when green, a vegetable. The name Mui means aroma and Yen-Khé Tran Nu who plays the ripe Mui is certainly sweet. Shot in a studio outside Paris, the enticing settings (a latticed house, a dream kitchen), the subdued tone and insinuating soundtrack make an aesthetic whole that coincides with the current exotica fascination, particularly in France where nostalgia for the colonial past dies hard.

Separated from her incarcerated husband Bill (Hinds), Trish (Janney) is about to be married again. Bill is a pedophile, so Trish couldn't be more excited to have Harvey (Lerner), a "normal" father figure for her two sons. But when Bill is released from prison and the boys finally meet their future stepdad, the family is forced to decide whether to forgive or to forget. Trish's sister, the virginal, angelic Joy (Henderson), is also haunted by ghosts of lovers past. On leave from her degenerate husband, Allen (Williams), and her job at a New Jersey correctional facility, Joy unwittingly leaves behind a trail of shame and exposed secrets wherever she goes. In one of the film's most stylized sequences, the image of Joy walking the dark streets of Miami in her nightgown maintains her innocence against a backdrop of self-affliction and desire.

"Pather Panchali", "Aparajito (The Unvanquished)", and "Apur Sansar (The World of Apu)" make up Satyajit Ray's trilogy of films about a young man growing up in '20 era India. Although not originally intended as a trilogy, the films, which took eight years to complete, were a cultural breakthrough that showed the rest of the world a different side of worldclass Indian cinema. Ray's ability to transfer a poetic justice to the life trajectory of Apu from a good-hearted child to a responsible adult, and father to his son, comes through in the director's patient and all-encompassing embrace of the mysteries of life. Set in Bengal, the engrossing trilogy transports the viewer into another world that we come to know and accept as our own. Ravi Shankar created the music for this unforgettable masterpiece of humanist cinema filmed by the incomparable cinematographer Subrata Mitra.

When once-up-and-coming indie film starlet Halley Feiffer loses her boyfriend, her agent and her career in one fell swoop she finally realizes that something in her life has got to change… she has to become WAY MORE FAMOUS! Armed with a stolen script and two pitchers of sangria, Halley enlists the help of her brother Ryan and his boyfriend to make her own movie, starring herself (of course) as herself, and any A-list celebrity she can land along the way. From seducing the Karate Kid to kidnapping Hollywood's biggest name in comedy, Halley will stop at nothing to get her movie made even it means hurting the only people who truly care about her.

An entrepreneur discovers a giant gorilla and the girl who owns him in the wilds of Africa. He brings them back to star in his nightclub, but things go awry when some drunkards harass the beast, who goes on a frenzy of destruction.

A lumberjack battles a group of ranchers over the rights to a nearby forest.