Don Giovanni

A newlywed fears she's going mad when strange things start happening at the family mansion.

Vincent LaMarca is a dedicated and well-respected New York City police detective who has gone to great lengths to distance himself from his past, but then makes the terrible discovery that his own son has fallen into a life of crime.

A withdrawn young man, Leland Fitzgerald is imprisoned for the murder of a mentally disabled boy, who also happened to be the brother of his girlfriend, Becky. As the community struggles to deal with the killing, Pearl Madison, a teacher at the prison, decides to write about Leland's case. Meanwhile, others affected by the murder, including Becky and her sister, Julie, must contend with their own problems.

Centring on the activities of a gang of assorted criminals and, in particular, their leader – a vicious young hoodlum known as "Pinkie" – the film's main thematic concern is the criminal underbelly evident in inter-war Brighton.

Two veteran New York City detectives work to identify the possible connection between a recent murder and a case they believe they solved years ago; is there a serial killer on the loose, and did they perhaps put the wrong person behind bars?

With his affinity for the 16th-century sculptor Benvenuto Cellini's advocacy of artistic and personal freedom, Hector Berlioz went straight for the grand gesture with his first completed opera. Returning to it years after initial production debacles, Berlioz stated that he would 'never again find such verve and Cellinian impetuosity, nor such a variety of ideas.' The plot revolves around Cellini's wooing of Teresa, a match frustrated at every opportunity by his rival, the cowardly Fieramosca. Benvenuto Cellini is a pithy work combining romance, excitement, violence, comedy and spectacle; the perfect stage for Terry Gilliam's stylishly colorful and larger than life directing.

An excellent performance of this delightful opera. The principals are superb, especially the sisters. Bruscantini as Don Alfonso is past his prime, but he knows and understands the role inside out, so one does not even notice his vocal limitations. Araiza is in top form as Ferrando, and Morris makes virile Guglielmo. The only disappointment is Battle as Despina. Unlike her partners, she does not have feel for the Mozart ensemble, and her vocal mannerisms are totally unbecoming. How the producers allowed that to happen is a mystery. Muti's conducting is terrific, much better than on his La Scala video, where he is uninvolved.

Jacques Mesrine, a loyal son and dedicated soldier, is back home and living with his parents after serving in the Algerian War. Soon he is seduced by the neon glamour of sixties Paris and the easy money it presents. Mentored by Guido, Mesrine turns his back on middle class law-abiding and soon moves swiftly up the criminal ladder.

A gambler’s bet spiraling into chaos, a gangster's prophetic visions, a pop star’s dark entanglement, a doctor’s desperate race against time to rescue his beloved... Four interconnected stories reveal life unfolding through four emotional pillars — joy, passion, grief, and love.

A quiet, epileptic taxidermist plans the perfect crime. All he needs is the right opportunity. An accident, perhaps…

In a sleepy little mill town in North Carolina, Paul is the town Romeo. But when his best friend's sister returns home from boarding school, he finds himself falling for her innocent charm. In spite of her lack of experience and the violent protests of her brother, the two find themselves in a sweet, dreamy and all-consuming love.

A short film exploring the notion of identity in relation to our actions and society's perception of individuals.