Snack

Dan Foreman is headed for a shakeup. He is demoted from head of ad sales for a major magazine when the company he works for is acquired in a corporate takeover. His new boss, Carter Duryea, is half his age–a business school prodigy who preaches corporate synergy. While Dan develops clients through handshake deals and relationships, Carter cross-promotes the magazine with the cell phone division and Krispity Krunch, an indeterminate snack food under the same corporate umbrella. Both men are going through turmoil at home. Dan has two daughters, Alex, age 18, and Jana, age 16, and is shocked when his wife tells him she's pregnant with a new child. Carter, in the meanwhile, is dumped by his wife of seven months just as he gets his promotion. Dan and Carter's uneasy friendship is thrown into jeopardy when Carter falls for, and begins an affair with, Dan's daughter Alex.

Koistinen, guardiano notturno di un centro commerciale, è troppo ingenuo e sprovveduto per la gelida Helsinki dei nostri giorni. Non conosce nessuno, si isola dai gruppi di colleghi al lavoro come al bar, arranca alla ricerca di un posto nel mondo mentre l'indifferenza generale lo condanna alla solitudine. Quando una bella bionda si avvicina…

Le générique, volontairement, ne crédite ni réalisateur ni générique, précise qu'on peut reconnaître aux détails de certains costumes qu'il fut tourné en 1950 ou 1951, mais remercie Eric Rohmer et Jean-Luc Godard d'avoir bien voulu accueillir ce " sketch " dans la " série Charlotte et Véronique ". Volonté d'un réalisme anonyme, minimaliste à la forme épurée, sobre dans lequel s'esquisse déjà le marivaudage rohmérien. Dialogues ciselés, parfois drôles mais contrebalancés par le problème moral et sa profondeur impitoyable sous-jacente. Tout le meilleur Rohmer est déjà esquissé : élitaire mais sincère, ici engoncé dans une mise en scène en plans fixes.

"Pumpkin" (Tim Roth) and "Honey Bunny" (Amanda Plummer) are having breakfast in a diner. They decide to rob it after realizing they could make money off the customers as well as the business, as they did during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll….

Dan Foreman is headed for a shakeup. He is demoted from head of ad sales for a major magazine when the company he works for is acquired in a corporate takeover. His new boss, Carter Duryea, is half his age–a business school prodigy who preaches corporate synergy. While Dan develops clients through handshake deals and relationships, Carter cross-promotes the magazine with the cell phone division and Krispity Krunch, an indeterminate snack food under the same corporate umbrella.

The film revolves around Park Hee-bong, a man in his late 60s. He runs a small snack bar on the banks of the Han River and lives with his two sons, one daughter, and one granddaughter. The Parks seem to lead a quite ordinary and peaceful life, but maybe they are a bit poorer than the average Seoulite. Hee-bong's elder son Gang-du is an immature and incompetent man in his 40s, whose wife left home long ago. Nam-il is the youngest son, an unemployed grumbler, and daughter Nam-joo is an archery medalist and member of the national team. One day, an unidentified monster suddenly appears from the depths of the Han River and spreads panic and death, and Gang-du's daughter Hyun-seo is carried off by the monster and disappears. All of the family members are in a great agony because they lost someone very dear to them. But when they find out she is still alive, they resolve to save her.

The Belgian filmmaking team of brothers Luc and Jean-Pierre Dardenne turned heads with Rosetta, an intense vérité drama that closely follows a poor young woman struggling to hold on to a job to support herself and her alcoholic mother. It’s a swift and simple tale made revelatory by the raw, empathetic way in which the directors render Rosetta’s desperation, keeping the camera nearly perched on her shoulder throughout. Many have copied the Dardennes’ style, but few have equaled it. This ferocious film won big at Cannes, earning the Palme d’Or for the filmmakers and the best actress prize for the indomitable Émilie Dequenne.

"They're coming to feed on the unborn…"
It seemed like the perfect solution to an unwanted pregnancy. marry the heir to a wealthy estate, deceive his dying mother, give them the baby when it's born. But things are never as easy as they seem… when your new family has a taste for the blood of the unborn. The Filipino legend of the Aswang is transplanted to the northwoods of America in this stylish horror movie. A sensation at the Sundance Film Festival midnight screening in 1994, Aswang slipped into distribution limbo and became a legendary lost film. Now, 10 years later, it's back to give you even more sleepless nights…

Doctor Taylor, his wife Elizabeth and their teenage daughter Lana go to an isolated hospital in the Brazilean jungle, close to the Amazon river; they are attacked by savages and he sees them kill and eat his wife, and abduct the girl. Taylor manages to get back to civilization, but he needs psychiatric help; only Doctor Ana believes his story about cannibals, and takes the risk of going with him and a few rich people who can pay for a safari in the remote jungle. The cannibals decimate a number of the safari members in a succession of attacks, and only Taylor, the sexy lady doctor, and a photograph, rich the cannibal tribe - only to discover that she is now the wife of the tribe leader, and considered a goddess. The tribe has adopted her as a white goddess.

Each week on Naked and Afraid, a new pair of strangers will face the ultimate survival challenge: to survive together for 21 days in some of the world’s harshest environments with no food, no water, no tools…and no clothes. As their extreme survival skills are put to the test, each couple must battle the elements, each other, and their own inner weakness to triumph over the terrain and their predicament.