Three

There are three stories of women and men: in "A Time for Love" set in 1966, a soldier searches for a young woman he met one afternoon playing pool; "A Time for Freedom," set in a bordello in 1911, revolves around a singer's longing to escape her surroundings; in "A Time for Youth" set in 2005 Taipei, a triangle in which a singer has an affair with a photographer while her partner suffers is dramatized. In the first two stories, letters are crucial to the outcome; in the third, it's cell-phone calls, text messages, and a computer file. Over the years between the tales, as sexual intimacy becomes more likely and words more free, communication recedes.

Dziga Vertov, whose renegade approach to cinema is best remembered in the legendary Man with the Movie Camera and his series of Kino-Pravda newsreels, demonstrates his mastery of montage in this 1924 feature previously unseen in the United States.

The Three Musketeers is an upcoming film directed and produced by Paul W. S. Anderson based on the novel by the same title by Alexandre Dumas. The film, shot in 3D, is scheduled for release on October 14, 2011. The hot-headed young D'Artagnan along with three former legendary but now down on their luck Musketeers must unite and defeat a beautiful double agent and her villainous employer from seizing the French throne and engulfing Europe in war.

Near the Bosporus, Eyüp and Hacer live in a modest flat with their son Ismail, in his twenties, who's doing poorly in his studies. Few words pass between them, and a past family tragedy brings sorrow daily. On a rainy night, Eyüp's boss Servet, a wealthy businessman who's entering politics, hits a pedestrian on a lonely road. He drives off and offers money to Eyüp if Eyüp will take the fall - probably a six-month sentence. Eyüp agrees, and while he's in prison, Ismail wants his mother to ask Servet for enough money to buy a car. Servet, in turn, desires Hacer. How can this play out?

World War I is over, let the living begin. So three German soldiers open a repair ship and get on with their lives. Erich (Robert Taylor) finds unexpected love with frail Patricia (Margaret Sullavan), Gottfried (Robert Young) falls in with a verboten anti-nationalist group, Otto (Franchot Tone) approaches each day with worldly cynicism. And through all that's to come, the men know they will remain Three Comrades.
This lyrical adaptation of Erich Maria Remarque's novel is one of F. Scott Fitzgerald's rare screenwriting credits. Melodrama virtuoso Frank Borzage (Seventh Heaven) directs. And as Patricia, Sullavan remains the film's luminous soul, its cherished fourth comrade.

D'Artagnan (Gene Kelly), an inexperienced Gascon youth, travels to Paris to join the elite King's Musketeers. On his way, he encounters a mysterious lady at a roadside inn. When he picks a fight with one of her escorts, she becomes suspicious and has him knocked unconscious. His letter of introduction from his father to de Treville (Reginald Owen)…

Three Comrades is a 1938 drama film directed by Frank Borzage and produced by Joseph L. Mankiewicz for MGM. The screenplay is by F. Scott Fitzgerald and Edward E. Paramore Jr., and was adapted from the novel Three Comrades by Erich Maria Remarque (also considered the loose basis for The Deer Hunter in 1978). The film stars Robert Taylor, Margaret Sullavan, Franchot Tone, and Robert Young.

Three hundred years ago, Bai Qian stood on the Zhu Xian Terrace, turned around and jumped off without regret. Ye Hua stood by the bronze mirror to witness with his own eyes her death. Three hundred years later, in the …

In the late twenties and early thirties, Yasujiro Ozu was working steadily for Shochiku studios, honing his craft on dozens of silent films in various genres, from romantic melodramas to college comedies to gangster pictures—and, of course, movies about families. In these three droll domestic films—Tokyo Chorus, I Was Born, But … , and Passing Fancy, presented here with all-new scores by renowned silent-film composer Donald Sosin—Ozu movingly and humorously depicts middle-class struggles and the resentments between children and parents, establishing the emotional and aesthetic delicacy with which he would transform the landscape of cinema.