Browse Movies : Announced | Development | Pre-Production | Production | Completed : Foreign (Page #5)

Set in Toronto, a romantic tale which revolves around Rahul Seth, a Westernized, young dot.com millionaire, and his unconventional relationship with the beautiful and wild Sue Singh. Rahul is devastated after the untimely death of his beautiful, pop artist, blonde girlfriend Kimberly. To make matters worse, he is under extreme pressure from his family to get engaged to a good Hindu girl before his sister's upcoming wedding. Lest one forgets, according to the popular Hindu adage, 'the best cure for a broken heart is marriage'. Desperate, he hires the services of the gorgeous Sue, a local escort girl, to pretend to be his fiancée during the ten days of celebration, leading up to his sister's marriage ceremony. While Rahul is the scion of a typically successful NRI family, Sue is the daughter of a humble car mechanic and--professionally speaking--is one of the highest paid escorts in Toronto. They enter into the relationship as opposites. However, during this fateful period of much song, dance and merriment, Rahul and Sue's relationship slowly transcends that of employer and employee. With her passion for life, Sue manages to break through Rahul's hardened exterior to reveal a sensitive man who is not as emotionally dead as he would like to believe. In turn, Rahul's strong personality and advice enables Sue to see her parents in a more positive light.

A group of young geniuses are drawn together by a mysterious advertisement, then suspiciously abandoned on an island, where they scramble to sort out their collective fate.

When her husband dies, an Israeli mother, Dafna (Orly Silbersatz Banai), must cope with both her own grief, that of her four children, and the economic problems that his passing leaves them with, as she tries to keep the family together and functioning.

This documentary captures what happened in Rio de Janeiro, Brazil, on June 12th, 2000 when Bus 174 was highjacked by an armed young man, Sandro do Nascimento, with a dozen passengers. Nascimento threatened to kill all of the passengers, but eventuallly agreed to surrender, as TV cameras were rolling and an entire nation was glued to their screens watching the event take place. Then, a police officer decided to fire at Nascimento anyway, accidentally killing one of the female passengers instead. What followed was a revolt among the city's population, enraged at police brutality. The film intertwines the story of the standoff with biographical information about Sandro do Nascimento, including his childhood as a survivor of the "Candelaria" child mass murders in the early 1990s, and the trauma of seeing his mother stabbed to death in front of him.

Georges, a television talk show host, and his wife Anne, are living the perfect life of modern comfort and security. One day, their idyll is disrupted in the form of a mysterious videotape that appears on their doorstep. On it they are being filmed by a hidden camera from across the street with no clues as to who shot it, or why. As more tapes arrive containing images that are disturbingly intimate and increasingly personal, Georges launches into an investigation of his own as to who is behind this. As he does so, secrets from his past are revealed, and the walls of security he and Anne have built around themselves begin to crumble.

After it is killed in a bullfight, a bull's body parts are transported across Europe, in Spain, France, Italy and Belgium, with this ensemble drama showing us the people who are the recipients of the remains in one way or another, like an Italian actress (Chiara Mastroianni) selling the bones in a supermarket promotion, a Spanish woman (Angela Molina) who dines on its steaks, a little girl (Raphaelle Molinier) in northern France who imagines a world where animals are much larger than humans, and a taxidermist (Jacques Gamblin) whose wife is simultaneously giving birth to quintuplets.

Growing up in a culture dictated by violence and run by street gangs, teenagers Acerola and Laranjinha have become close as brothers. With their eighteenth birthdays fast approaching, Laranjinha sets out to find the father he never met, while Acerola struggles to raise his own young son. But when they suddenly find themselves on opposite sides of a gang war, the lifelong friends are forced to confront a shocking secret from their shared past.

A murder and a suicide occur early one morning in a jewelry store. Behind this headline lies the story of a desperate man's feelings of humiliation in a world of social injustice... When his friend Ali shows him the contents of a lost purse, Hussein cannot imagine the large sum of money marked on a receipt for an expensive necklace. He knows that his pitiful salary will never be enough to afford such luxury. Hussein feels even lower on the social scale when a smooth-talking professional thief mistakes the two friends for petty crooks. Hussein receives yet another blow when he and Ali are denied entry to an uptown jewelry store because of their appearance. Hussein's job delivering pizzas allows him a full view of the contrast between rich and poor. He motorbikes every evening to neighborhoods he will never live in for a closer look at what goes on behind closed doors. The hypocrisy of the system is thrown in his face wherever he turns. But Hussein will taste the luxurious life for one night before his deep feelings of humiliation push him over the edge.

A photographer who is haunted by the feeling that the gap between his ideals and his real life is growing finds himself obliged to put up in his apartment a young relative who has left behind his village looking for a job aboard a ship in Istanbul to go abroad.

This is the true story of how a Japanese businessman from Los Angeles, Eishy Hayata, built an emerald mining empire in Columbia that is today one of the world's largest and most powerful, starting in the 1970s as an "esmeraldero", an emerald buyer who goes directly to rural areas where emeralds can be procured from locals at bargain prices in their rough form. Central to the film's intrigue are Columbia's more brutal realities, as guerrilla warfare and street kidnappings are quite common. To combat this, Hayata fashions himself as a sort of modern cowboy, armed and dressed to fit the bill, along with a powerful cadre of personal bodyguards.

After nine years, acclaimed writer/director Mamoru Oshii follows up his cult hit "Ghost in the Shell"—one of the biggest animé successes of all time—with the long-awaited sequel "Ghost in the Shell 2: Innocence". It is the year 2032 and the line between humans and machines has been blurred almost beyond distinction. Humans have forgotten that they are human and those that are left coexist with cyborgs (human spirits inhabiting entirely mechanized bodies) and dolls (robots with no human elements at all). Batou is a cyborg. His body is artificial: the only remnants left of his humanity are traces of his brain…and the memories of a woman called The Major. A detective for the government's covert anti-terrorist unit, Public Security Section 9, Batou is investigating the case of a gynoid—a hyper-realistic female robot created specifically for sexual companionship—who malfunctions and slaughters her owner. As Batou delves deeper into the investigation, questions arise about humanity's need to immortalize its image in dolls. The answers to those questions lead to the shocking truth behind the crime...and quite possibly the very meaning of life.

Story is set in the woods of an Appalachian-like area of Chile and follows two sisters, portrayed by Siboney Lo and Carolina Escobar, who escape from their sexually abusive father and find existence on the run just as perilous.

"House of Flying Daggers" is set in the year 859AD as China's once flourishing Tang Dynasty is in decline. Unrest is raging throughout the land, and the corrupt government is locked in battle with rebel armies that are forming in protest. The largest, and most prestigious of these is the "House of Flying Daggers", which is growing ever more powerful under a mysterious new leader. Two local captains, Leo (Lau) and Jin (Kaneshiro) are ordered to capture the new leader and the two hatch an elaborate plan. Captain Jin will pretend to be a lone warrior called Wind and rescue the beautiful, blind revolutionary Mei (Ziyi), from prison, earning her trust and escorting her to the secret headquarters of the House of Flying Daggers. The plan works, but to their surprise, Jin and Mei fall deeply in love on their long journey to the House. Danger lurks in the forest surrounding them, and the wind is still, as if sensing the tension in the air. What lies ahead for Jin and Mei, these star-crossed lovers? If this is true love, then why are there plots in their heads, and secrets in their hearts?

The unspoken code of the underworld: keep your mouth shut, protect your family and don't be a traitor. Dris, having spent the last four years in jail with his mouth shut, wants to get back to his quiet life with his beautiful wife. But the past is never far away, and his partner and best friend Yanis, who now runs the streets, wants nothing more than to bring Dris back into the family.

Legendary criminal. Proud homosexual. Cabaret star. Passionate lover. Killer. Devoted father of seven adopted children. Saint or devil? Madame Satã. Born to slaves in the arid wasteland of Northern Brazil and sold by his mother at the age of 7, he pursued his freedom on the mean streets of Lapa, Rio de Janeiro. Jet-black, six feet tall, 180 pounds of proud muscle in a silk shirt and tight pants, a cutthroat razor in his back pocket. Karim Aïnouz's extraordinary portrait of the triumphs and tragedy of this explosive and paradoxical personality unfolds against the vibrant, sordid background of Lapa: thronging underworld of pimps and whores, of cut-throats, queers and artists, of dark bars and brothels thick with smoke, drenched in sweat and cheap perfume. A world run through with violence and raw desire, where desperate dreams spring from poverty and squalor.

Genya Tachibana is a director and the president of a small production company. One day, he is contacted by the famous Gin Ei studios, that ask him to direct a documentary commemorating their 70 years of existence. Genya chooses as a subject the legendary actress Chiyoko Fujiwara, a superstar actress who 30 years earlier chose to end her career and disappear from public life. Chiyoko Fujiwara is a cinematographic enigma that nobody ever seemed to shed light on. Genya is obsessed by this fallen star, wanting to unravel the truth behind her secret. Accompanied by a young cameraman, Genya finds his way to Chiyoko, who has transformed into an elderly hermit living alone in an isolated house. At their first meeting, Genya sees that Chiyoko, although touched by the hand of time, has not lost any of her charm or energy. To gain her confidence, he brings her an ancient key that holds sentimental value, that rapidly allows Chiyoko to begin recounting her memories. The interview takes course, and our 3 protagonists are plunged into the past, visiting each fragment of what has been long gone, where the past and present meld together. The actress' recollections soon metamorphosize into a great adventure where cinema confronts her history and an incredible love is unveiled, that conflicted with her rather uncommon lifestyle...

Four siblings live happily with their mother in a small apartment in Tokyo. The children all have different fathers. They have never been to school. The very existence of three of them has been hidden from the landlord. One day, the mother leaves behind a little money and a note asking her 12-year-old boy to look after his younger siblings. And so begins the children's odyssey, a journey nobody knows. Despite their mother's abandonment, the four children do their best to survive in their own little world, devising and following their own set of rules. But when they have no choice but to engage with the world outside the apartment, the fragile balance that has sustained them collapses. Kore-eda incorporated documentary techniques to makes this film extraordinarily intimate and unaffected. Filmed chronologically over a year, "Nobody Knows" captures the young amateur actors growing as their characters do, highlighting the details of the children's lives, whether the nuances of a manicure, a toy piano, squeaking sandals, a cup of instant noodles, or a box of chocolates, to evoke not only the distinctive world of these particular abandoned children, but the gentleness and beauty of every childhood.

Bruno Le Roux (Elie Belvaux) breaks out of the prison in which he's served 15 years of a life sentence for his membership in an armed wing of a left-wing revolutionary movement, the Popular Army. Bruno is determined to continue the fight against capitalist society, and to avenge his fallen comrades-in-arms. But most of his former associates are dead or behind bars, and the others are either unwilling or untrustworthy. He seeks help from former radical Jeanne (Catherine Frot), but she's now a mother and schoolteacher. Another former contact is local crime boss Jaquillat (Patrick Descamps). Years earlier, Bruno and Jaquillat had been allies in a bank robbery, but now Jaquillat's drug dealing is seriously constrained by the massive police presence as the manhunt for Bruno continues. It's in Jaquillat's interests to finish off Bruno. An alliance between Jaquillat and local cop Pascal Manise (Gilbert Melki) makes things even more dangerous for Bruno. Whatever ideals Bruno might once have had have been distorted by imprisonment and suffering. Bruno is now willing to kill for the most casual reasons -- he's turned into a psychopath with nothing to lose. However, he finds an unexpected ally in Agnes (Dominique Blanc), Manise's junkie wife. Bruno helps her when she is attacked by a street dealer, and, without really knowing who he is, she finds him a place to stay, in the chalet owned by her friend, Cecile (Ornella Muti).

The film follows the structure of Dante's masterwork, beginning in Hell. In Godard's hands, hell becomes a devastating but beautifully collected montage of war images. War - be it World War II, Algeria, Vietnam, Israel or Bosnia - is a constant in his films, but never has he pieced together an assemblage of such poetic power. Purgatory finds Godard himself in Sarajevo, where he has been invited to attend a European literary conference with other artists and writers. Here we are introduced to a young French-Jewish journalist based in Israel who has come to Sarajevo to see a place "where reconciliation is possible." Paradise is the most enigmatic section of the film, where the journalist finds peace by the water on a small beach guarded by American Marines.