to Live in Peace

Kosuke Matsuyama (Shun Shioya), is a second-year high school student. A nice, normal, nonviolent type, he suddenly finds himself in the middle of a rampaging crowd of ethnic Korean boys, outraged by insults perpetrated by several of his idiot classmates on two Korean girls. He makes a narrow escape, but soon after, he and his best bud Yoshio (Keisuke Koide) are sent by their homeroom teacher to invite the Korean students to a friendly soccer game as a way of restoring the peace. Trembling like black-uniformed leaves, they enter enemy territory, where Kosuke encounters a doll-faced, but serious-looking girl (Erika Sawajiri) playing a Korean folk song, "Imjin River", on a flute. The story centers on Kosuke's struggle to not only master a song, but win the love of a girl who seems to live in an alien, hostile world. Meanwhile, Ang Son and his crew are street fighting with Japanese toughs as if playing a contact sport, with one side scoring hits, then the other.

Witness the tragic fall of the great Indian nations. Share the tales of the "conquering" of the American West from the Native American perspective.

Tomoki's life was normal until a wish-granting angelic android named Ikaros fell from the sky and started calling him master! Of course, thanks to his raging teenage hormones, most of Tomoki's wishes have something to do with panties. And that makes things pretty complicated, because one simple wish can lead to a rampaging robot made out of frilly undergarments or turn bloomers into bombs capable of blowing up entire neighborhoods! If Tomoki doesn't learn to control his impulses around Ikaros and be more careful with his wishes, the chaos will only get crazier. Luckily, even with such a dirty mind, Tomoki's heart is in the right place. His hands, however, are a completely different story.

Ross Kemp Extreme World returns for another fascinating and exciting third season, gaining extraordinary and unparalleled access to the places and people caught up in some of the most important global issues of our time. The most recent run saw Kemp examine the conflicts in Northern Ireland, poverty and corruption in Las Vegas the crack epidemic in Rio de Janeiro and India's huge sex-trafficking industry.

All of Washington, D.C., is thrown into a panic when an extraterrestrial spacecraft lands near the White House. Out steps Klaatu (Michael Rennie, in a role intended for Claude Rains), a handsome and soft-spoken interplanetary traveler, whose "bodyguard" is Gort (Lock Martin), a huge robot who spews forth laser-like death rays when danger threatens. After being wounded by an overzealous soldier, Klaatu announces that he has a message of the gravest importance for all humankind, which he will deliver only when all the leaders of all nations will agree to meet with him. World politics being what they are in 1951, Klaatu's demands are turned down and he is ordered to remain in the hospital, where his wounds are being tended. Klaatu escapes, taking refuge in a boarding house, where he poses as one "Mr. Carpenter" (one of the film's many parallels between Klaatu and Christ)……

Hailed as one of the finest films ever made, legendary director François Truffaut’s early masterpiece Jules and Jim charts the relationship between two friends and the object of their mutual obsession over the course of twenty-five years. Jeanne Moreau stars as Catherine, the alluring and willful young woman whose enigmatic smile and passionate nature lure Jules (Oskar Werner) and Jim (Henri Serre) into one of cinema’s most captivating romantic triangles. An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, Jules and Jim was a worldwide smash upon its release in 1962 and remains as audacious and entrancing today.

Johan and Esther have been married for years, and live with their children in a Mennonite community from the north of Mexico. Against the law of God and man, Johan falls in love with another woman.

I was amazed by Silent Light – the setting, the language, the delicacy of the interactions between the people on screen, the drama of redemption. And most of all by Carlos Reygadas's extraordinarily rich sense of cinema, evident in every frame. A surprising picture, and a very moving one as well. — Martin Scorsese