Charlotte Flyte

Ally Walker

Sonequa Martin-Green

Louisa Krause

A story about two lacrosse teammates from opposite sides of the track.

Toe to Toe

Toe to Toe (2009)

Trevor Donovan

Charlotte Sullivan

Rachel Sellan

John Ralston

A recuperating world champion skier returns home and takes remedial coaching from a childhood friend, the daughter of his first coach, and ex-competitor. As he prepares for a major competition, their rekindled friendship causes them both to consider their future careers.—Ali Kayn (Festivale Online Magazine)

Two for the Win

Two for the Win (2021)

John Hannah

Nastassja Kinski

Molly Parker

Charlotte Gainsbourg

Catherine meets Nick by accident and, after a whirlwind romance, the two get married and Catherine moves into Nick's apartment only that's the start of problems when an unseen intruder begins playing strange mind games with Catherine in an apparent attempt to drive her insane. Catherine first suspects Nick is behind it, then suspicion moves to his business partner Badge, then to Nick's friends, until Catherine suspects that Nick's first wife Stella, who commited suicide years before, may be behind the occurrences which she may be committing from either beyond the grave, or by a time vortex within the apartment itself which may have let to her suicide in the first place.—Matthew Patay

The Intruder

The Intruder (1999)

Tim Roth

Victor Hugo

Samuel Bottomley

Neil and Alice Bennett (Tim Roth, Charlotte Gainsbourg) are the core of a wealthy family on vacation in Mexico with younger members Colin and Alexa (Samuel Bottomley, Albertine Kotting McMillan) until a distant emergency cuts their trip short. When one relative disrupts the family's tight-knit order, simmering tensions rise to the fore in this suspenseful jolt from writer/director Michel Franco.

Sundown

Sundown (2021)

Colin Hill

Fabien Baïardi

Sophie-Charlotte Husson

Emmanuel Patron

Un homme au pair

Un homme au pair (2013)

Kristoffer Kumar

Erlend Ofte Arntsen

Ayleen Charlotte

Cecilie Fjellhøy

Swipe, swipe, swipe, It's not easy to find love online, so when Cecilie matches with a handsome billionaire playboy, she can't quite believe it when he turns out to be the man of her dreams. But dreams aren't reality and by the time she discovers this international businessman isn't who he says he is, it's too late. He's taken her for everything. Where this fairytale ends, a revenge begins.

The Tinder Swindler

The Tinder Swindler (2022)

Marton Csokas

Charlotte Rampling

Edith Poor

George Ferrier

Ruth (Oscar nominee Charlotte Rampling) is a worldly former war correspondent now bored in retirement with a drinking problem and a newly fractured leg. Sam (George Ferrier) is her unruly grandson, recently kicked out of boarding school and grieving the death of his mother. When the two are brought together under the same roof, they form an unexpected bond.—Greenwich Entertainment

Juniper

Juniper (2021)

Jimmy Jean-Louis

Yvan Attal

Thibault de Montalembert

A triangle: love, obsession, and choice. Pierre, a ladies' man who has little cash and no fixed residence, describes his best friend Benoît as the world's oldest 32-year-old. The shy, well-employed Benoît's life changes when he answers the personal ad of Marie, a 25-year-old who restores paintings. He's attracted to her and she likes his steady calm and his honest attention. They're soon a couple, and they include Pierre in their dinners, outings, and trips. What will happen when Pierre realizes that he too is in love with Marie?—

Love, etc.

Love, etc. (1996)

Stellan Skarsgård

Valeria Golino

Nick Nolte

It is 2085. A young man, one of the few survivors of the human community of old, embarks on a long voyage to find others.

Last Words

Last Words (2020)

John Zaremba

Sandra Knight

John Ashley

Charlotte Portney

The movie opens on a scene at night with a man kissing a woman on a sidewalk. Suzie Lawler (Tally Todd) rebuffs her lothario, so he storms off in his car. As Suzie turns to walk home she sees the visage of a cavewoman in a nightgown. She screams, not recognizing her girlfriend, Trudy Morton (Sandra Knight). Trudy is dazed and confused. She has black bushy eyebrows and thick dark teeth. We zoom in on her face as the title is shown. Credits roll in white font over a black background.Trudy wakes up in her bed. She thought she had a nightmare and is relieved it is over. Her uncle, Carter Morton (Felix Locher) enters and reminds her, "It's late dear. I thought you had a date for tennis." She confesses she didn't sleep well, "It seems so real, as though it actually happened." Carter dismisses himself and Trudy gets ready for her tennis date. Oliver Frank (Donald Murphy) waits downstairs for his collaborator to start work. Carter unlocks the door to the lab. An impatient Oliver reminds Carter again, "If you'd let me have a key I could have begun work an hour ago." Carter argues with Oliver over their approach. Finally Carter asks point-blank, "Oliver, do you want to quit? Say so. Just say you quit and go." They don their lab coats, Carter resigned to be stuck with Oliver Frank until this line of research is completed. His goal is a formula that wipes out all disease in mankind, "Man will be ageless." Oliver throws cold water on Carter's dream, "I'm afraid you're on the wrong track. Your formula may work on internal cells, but it causes violent disfigurement to sensitive exposed skin areas."At the tennis courts, Suzie tells her boyfriend, Don (Harold Lloyd, Jr.) and Trudy's boyfriend, Johnny Bruder (John Ashley) about the monster woman she saw the evening before. Trudy arrives and is told about Suzie's horror story. Trudy warns, "Nightmares are nothing to laugh about. I had one myself, last night." The story intrigues Trudy and she asks for more details. Trudy begs off playing tennis, obviously upset. Johnny asks Trudy what's the matter. She tells Johnny, "It's as though Suzie and I had the exact same dream." She recounts the evening's events. She stayed home, had some fruit punch with Oliver Frank, felt tired, and then went to bed.Carter pronounces his latest test as no good. Of course, Oliver tells him, "Well, I could have told you that. Even if it did work it would have only been temporary." Carter has to remind him of their working relationship. Elsu (Wolfe Barzell), the gardener, interrupts to tell Carter he has completed some household chore. Carter suspects Elsu is a spy. Oliver suggests throwing out the latest test formula, but Carter overrules him, "I'm sure if I could get some Digenerol as a catalyst, it would work." He promises to get some from the Rockwell Labs, but Oliver cautions him not to do anything that brings police scrutiny. Trudy is in the living room reading Screen Stars magazine. Elsu comes in and presents her a flower. She is uneasy and repelled by the unwanted attention from the gardener. Uncle Carter throws him out. Elsu encounters Oliver on his way out. Oliver asks, "Tonight?" Elsu quietly replies, "There will be an automobile accident." He chuckles and promises to get it. Carter leaves to get his Digenerol, leaving the unctuous Oliver to paw at Trudy. She rebuffs his attentions with a cute remark about her plans for the evening, "In the pool for a swim. And I'd suggest you take a cold shower." Oliver returns to the lab door, and using a key he had made, starts work on a body. Elsu arrives, letting himself in through a secret entrance behind a bookcase. He is carrying a bundle wrapped in a towel. Oliver tells him he needed an entire head, not the part he secured. It is revealed that Oliver's real last name is actually Frankenstein. He instructs Elsu to return the body to the storage room. Judy swims in the pool as Oliver mixes up a potion. He offers her some "fruit punch" as a peace offering. He convinces her to drain her glass. She immediately gets woozy and heads for her bedroom. She starts to transform before she falls into bed. Transformation complete she gets up and sees her reflection in her makeup mirror. She lunges at Oliver in the doorway. By now her eyes are bugged out and her skin wrinkled and leathery. Oliver used too much of the formula.Police Lt. Boyle (John Zaremba) is on the phone in his office. He is taking a report from a man reporting a monster woman wearing a bathing suit. Boyle tells Police Detective Bill Dillon (Robert Dix) about the call. Boyle gets another call from a woman reporting the same monster in a bathing suit. The pair go to investigate. Oliver and Elsu prepare an antidote to give Trudy. Boyle and Dillon check on the woman (Charlotte Portney) who reported the creature. Her face is scratched and bloody. After she finishes her story, Boyle pulls his gun and searches for the creature. They spot Trudy and fire their weapons at her. She runs and topples some trash cans. The commotion draws Oliver with his antidote. Oliver captures Trudy. The next morning the local newspaper headline screams, "Woman Monster Menaces City!" Carter asks Oliver about the story. He is incredulous, telling Oliver, "Rubbish. Like the myths and the legends of the Dark Ages. These are headlines to sell newspapers my boy." The mention of Frankenstein gets a rise out of Oliver. Carter shows Oliver his new acquisition, a bottle of Digenerol. Trudy wakes, now back to normal, but still wearing her one piece bathing suit.Mr. Rockwell (Voltaire Perkins) is in Boyle's office to report a robbery at Rockwell Labs. He explains that, "That drug is very dangerous. It degenerates tissues and cells. In the wrong hands it could seriously disfigure anyone who might take it internally." He intimates it may be the cause of the monster. Carter and Oliver are working when Elsu enters the lab via the bookcase entrance. To distract attention, Oliver bumps Carter, who drops the bottle of Digenerol, breaking it. Carter is furious. Suzie rings the doorbell at the Morton residence. Oliver answers the door. Suzie inquires about Trudy. She walks around back where Trudy is on the chaise by the pool. She shows Trudy the paper and monster story. Suzie gets mad when Trudy claims to be the monster. Jealous, Suzie figures to even the score by getting involved with Oliver Frank. Little does she know how dangerous this will be for her. Johnny arrives as Suzie departs. Suzie starts her seduction of Oliver by making a date for 8:00 that evening. Trudy begs Johnny to believe her story.Suzie meets with Oliver that evening. He comes on too strongly for her and gets his face slapped for his efforts. He is furious and threatens to kill her. She decides to call the date off, but Oliver won't take no for an answer. She reveals she wasn't supposed to go out and no one knows she's with Oliver. His demeanor changes from angry to maniacal. "Where can we get the brain," he asks himself, "I need a brain. I need a brain." Suzie runs down the road. Oliver follows in his car. He strikes and kills his victim. Oliver and Elsu carry her body into the lab. She is wrapped in a blanket. He tells Elsu he intends to graft Suzie's head on the other body. He tells the corpse, "Tonight you'll be alive again, you vixen." As he and Elsu finish their work, Johnny and Trudy arrive home from their date. Judy thinks she hears someone in the lab and checks. They finish up and Elsu proclaims the creation, "Frankenstein's Daughter." Trudy tries to sleep but hears electrical equipment downstairs. She calls to her uncle Carter. She phones Johnny at home to report noises. She locks her bedroom door and goes to sleep.Boyle and Dillon meet on another report of a burglary at the Rockwell Labs. More Digenerol was stolen by an elderly man. Carter arrives home in a sorry state. He is winded and calls weakly for his niece while clutching his chest in pain. He calls again, then collapses on the stairs. Oliver and Trudy both respond to the old man's cries for help. Oliver's creation (Harry Wilson) wakes and moves its' hands and arms. It gets up off the gurney and wanders around the lab. We zoom in on creatures face and bandage covered head. Half the face resembles ground meat, the "good half" a very ugly man in lipstick. The neck bolts glint in the dim light from the lab equipment. It wanders out of the lab into the entry of the house. We can clearly see the rubber suit, and black rubber gloves on its hands. Coiled electrical wires run from the neck to the wrists. It tears off the curtain on the front door, breaks a window and pulls the door open to escape. Oliver and Trudy respond to the commotion. They enter the lab and Oliver mumbles, "Then she's alive."Two workmen at the Associated Storage Company are loading crates. Mack (George Barrows) is working late and complains about his burnt dinner. His supervisor (Bill Coontz) hears a noise and investigates. He is carrying a crowbar for protection. The monster approaches him. He backs up and strikes the monster with his crowbar. It strikes back sending the warehouseman running for the door. The monster catches him and crushes his body in the closing door. Mack finds his coworker dead, and immediately calls the police.Before Bill Dillon can leave for the evening, Lt. Boyle gets a phone call and tells him to stick around. The warehouseman reports the crime. The pair go to investigate. Carter and Trudy sit and talk in the living room. Oliver and Elsu return after looking for their creation. There is a knock at the door and Trudy, expecting Johnny, answers it. Oliver's creation returns home. Trudy screams and faints. Elsu explains, "I told you she'd come back. She needs to be revitalized." Oliver helps Trudy to her feet just as Johnny arrives. They help Trudy to the living room. Oliver tries to convince Trudy, then Johnny, she saw nothing. Johnny tells Trudy that Suzie has disappeared. Elsu sits, with now now chained creature, in it's room. Oliver gives his creation an injection.Trudy has the gang over for a barbeque, Page Cavanaugh and his trio perform "A Special Date" musical number. Trudy and Johnny prepare dinner for the gang. Don scares Trudy with a rubber monster mask. His punishment is to sing. Oliver plans Carter's demise. He taunts Carter, then starts to strangle him when the police conveniently arrive at the house. Boyle questions Carter and Oliver about the Lab break-in. Oliver tells Boyle that Carter broke in to the lab and stole the Digenerol. Boyle leaves with Carter, not under arrest, but wanted for more questioning. Oliver and Elsu continue to work on their monster, but Elsu is starting to get cold feet. He feels the experiment was successful and is now over. Johnny and Trudy set the date for their wedding. Oliver gleefully tells Trudy her uncle was arrested. After Johnny departs to get his father, a lawyer, to see Carter and the police, Oliver makes his move on Trudy. He proudly reveals his real identity as Oliver Frankenstein, and boasts, "And while your uncle was wasting his time on a trivial experiment, I was completing a masterful one." She rebuffs him and he drags her to the lab to see his creation. She faints and Oliver and Elsu place her on the gurney. "You've always treated me as a monster, Trudy. Now you're going to be one," he tells her. Elsu objects to his plans for Trudy, and threatens to go to the police. Oliver orders his monster to kill Elsu. Trudy wakes and exits the lab as Elsu meets his fate.Johnny meets with Boyle. Boyle tells him that Carter had a relapse and is in the police ward of the hospital. The doctor will only let him meet with his lawyer. Trudy arrives at Boyle's office and reports the monster and Oliver's true identity and Elsu's death. A phone call reveals that Carter has died. Boyle and Dillon pay a visit to the Morton home. They question Oliver and ask for his identification. Boyle knows Oliver is lying, so Dillon stays and waits for the gardener to return to question him. Boyle returns to headquarters. Dillon walks upstairs when he hears a noise, then back down to see Oliver secret himself into the lab. He follows Oliver to the back room behind the bookcase. He pulls his gun and enters the monster's room. Oliver and the creature are waiting. Oliver proudly tells Dillon that he's looking at Suzie Lawler, then laughs explaining that, "She's not as pretty as she was." He releases the monster and orders it to kill the detective, which it does. Trudy and Johnny drive to the Morton residence. Trudy answers the phone. Boyle asks about Dillon. Trudy sees the lab door open, and the pair investigate. They spot the secret entrance and explore. The monster struggles to escape its' shackles and succeeds. It walks downstairs and chases Johnny and Trudy into the lab. Oliver is waiting for them. He tells them that Dillon and Elsu are dead at the hands of his creation. He threatens, "You know Trudy, you escaped me once, but I don't think you can do it again." He orders the monster to kill the pair. Oliver tries to escape but the arrival of Boyle thwarts his attempt. While Johnny fends off the monster using the gurney, Boyle shoots it from the window. A flask of acid thrown by Johnny at the monster misses its intended target, but hits Oliver. His melted face is shown before he hits the floor screaming in agony. The monster goes to check on its master. Johnny and Trudy embrace as they watch the monster accidently set itself on fire. It screams as it tries to extinguish the flames. Johnny and Trudy meet Boyle in the foyer and tell him the monster is on fire in the lab. Boyle witnesses the death throes of the creature now fully engulfed in flames. It burns like a tire fire. Boyle tells the pair, "It's all over now. I'll call the department." They exit the house.Johnny and Trudy are by the pool. Trudy towels off her fiancé. Don stops by with the newspaper, anxious to have them read the story. Johnny it not interested and tells him to leave. Don falls into the pool. We close with Johnny and Trudy kissing and telling Don once again, "You can leave anytime."

Frankenstein's Daughter

Frankenstein's Daughter (1958)

Fred Bianconi

Alain Chabat

Virginie Bordes

At 43, Luis is a confirmed bachelor, happy with one night stands, a success as a creator of perfumes. He has one problem: his mother and five sisters, who form an intimidating family council, want him married. Luis contrives to hire a woman to pose as a fiancée who will jilt him at the altar, leaving him disconsolate, with an excuse not to marry. He hires Emma, the sister of a colleague. She restores antique furniture and wants to adopt a child from Brazil. Things go too well: when Emma doesn't show up at the wedding, Luis's mother requires hospitalization; only Emma can bring her out of her swoon. It's time for a new plan that involves more tangled webs. And the child?—

Prête-moi ta main

Prête-moi ta main (2006)

Charlotte Beckett

Murisa Harba

Timothy Ryan Cole

Claire has everything - money, a loving husband and a desired child. But suddenly her life changes. Doubts and lies bring her to the edge of insanity.

The Shattering

The Shattering (2021)

Virginie Efira

Lambert Wilson

Daphne Patakia

Tuscany, Italy, 17th century. As the sinister threat of the Plague looms over Europe, sincerely devout 8-year-old novice Benedetta Carlini is brought into the Theatine Convent of the Mother of God in Pescia as a bride for Jesus Christ. Eighteen years later, as ominous whispers of disputable miracles scandalise the cloistered sisters, a test of faith awaits the deeply pious Benedetta. This unexpected trial comes in the shape of bruised, abused, and earthly Bartolomea. Now, sin is at the gate. And under the vigilant eye of cynical Abbess Felicita, fleeting glimpses of the forbidden fruit invite tentative intimacy, ungovernable desires, and intense diabolical obsessions in. But few can wrestle with guilt and emerge unscathed. Is there an escape from sin when weak flesh is the enemy?—Nick Riganas

Benedetta

Benedetta (2021)

Charlotte Ritchie

Nina Wadia

Callum Fuller

Gavin Fowler

A zealous cognitive psychologist dedicates his life to university lecturing. While tinkering with one of his many experiments he stumbles across an unbelievable discovery-a way of communicating with the other side. His joy is short-lived, however, as his daughter is put into potentially grave danger and when all leads go cold, he takes matters into his own hands to find out the truth.—Richard miller

Repeat

Repeat (2021)

Karl-Otto Alberty

Dirk Bogarde

Ingrid Thulin

The power and fortune of the Von Essenbeck family remained intact even when Germany lost World War I, and during the depression that followed. Now it's 1934, and the baron has summoned his family to a dinner that also brings a cousin rising in the Nazi party to the great house accompanied by a rising manager at the baron's company. Two little girls recite poetry in the parlor and then play hide-and-seek with their cousin Martin (Helmut Berger). Suddenly there is a scream. The baron has been shot with their father's gun and the father flees the country.—Dale O'Connor

The Damned

The Damned (1969)

Serge Gainsbourg

Jean-Pierre Léaud

Jane Birkin

"I'll look at you, but not at the camera. It could be a trap," whispers Jane Birkin shyly into Agnès Varda's ear at the start of JANE B. PAR AGNES V. The director of CLEO FROM 5 TO 7 and VAGABOND once again paints a portrait of a woman, this time in a marvelously Expressionistic way. "It's like an imaginary bio-pic," says Varda. Jane, of course, is the famed singer ("Je t'aime ... Moi non plus"), actress (BLOW UP), fashion icon (the Hermes Birkin bag) and longtime muse to Serge Gainsbourg. As Varda implies, JANE B. PAR AGNÈS V. abandons the traditional bio-pic format, favoring instead a freewheeling mix of gorgeous and unexpected fantasy sequences. In each, Jane inhabits a new character, playing a cat & mouse game with Varda as they explore the role of the Muse and the Artist, all the while showcasing the multifaceted nature of Birkin's talent. "I'd like to be filmed as if I were transparent, anonymous, like everyone else," says Birkin. But her wish to be a "famous nobody" is impossible to achieve; Birkin is simply too magnificent, too mesmerizing. Here, Varda's signature mix of aesthetic innovation and generosity of emotion results in a surreal and captivating essay on Art, Fame, Love, Children and Staircases. For its first-ever U.S. theatrical release the film has been newly-restored from the original 35mm camera negative, overseen by director Varda herself.

Jane B. for Agnes V.

Jane B. for Agnes V. (1988)

Michael Caine

Ciarán Hinds

Tilda Swinton

1992. The French government has passed a law punishing crimes against humanity allowing them to prosecute Nazi collaborators from WWII. Magistrate Annemarie Livi has been assigned the case of Pierre Brossard, a police officer in Dombey, France in June, 1944, when he helped round up a group of Jewish persons and personally chose seven of them to be executed. Brossard was captured and held in police custody in 1955 following a trial where he was sentenced to death for being a collaborator, before he was able to escape. Brossard has since received a Presidential pardon for those crimes. Livi enlists the help of Colonel Roux of the French Army to assist in this case in she not trusting the police who assisted the Vichy regime during the war. While Roux informs her that he is aware of an unknown Jewish organization that is also tracking and wanting to execute Brossard, Livi knows that the pardon was arranged by someone who must have been an associate of Brossard - who she refers to as "The Old Man" - now probably high up in the government. They are also both aware that the Catholic church has actively been assisting Brossard all these years, probably in providing him both with funds and shelter, them being able to break through the closed ranks of the church a major hurdle they will have to overcome. Livi is further given a warning by a close family friend, Armand Bertier, a government minster, that she is walking into a land mine of a case. Brossard, who is aware that he is being tracked both by the Jewish and by the national authorities, is indeed what he considers a devout Catholic in the realm of the traditionalists, he, who trying to stay one step ahead of those tracking him, looking for absolution from the church, while not prepared to give himself up to either the Jewish or the authorities. The Jewish have their own additional motive beyond killing Brossard for his crimes, while those pulling their strings have one more additional motive in protecting themselves.—Huggo

The Statement

The Statement (2003)

Johnny Depp

Keith Allen

Emmanuelle Seigner

What makes a marriage? Georges and Natalie argue and shout constantly; Fred, a bachelor playboy approaching 50, sleeps with many women, loving them all, living with none. Vincent, nearing 40, best friend of Georges and Fred, is married to Gabrielle and they have a son. He keeps his feelings to himself. He and Gabrielle are playful and passionate with each other, then bored and detached. Is Vincent holding back, and if so, why? A colleague accuses him of believing in romantic fairy tales. Gabrielle imagines them separated. Are the basics of life women working and men chasing skirts? Is marriage the alternative to possibilities?—

Happily Ever After

Happily Ever After (2004)

Queen Elizabeth II

Prince Philip

Gyles Brandreth

Lady Marina Charlotte Windsor

Produced in High Definition, with rare archive footage. Queen Elizabeth II has reigned for 60 years as the Queen of Great Britain and the Commonwealth. The Queen, who has witnessed incredible social, political and cultural changes in her reign, has retained the purpose and dignity of the British Monarchy. From the death of her father King George VI, to the marriage of Prince William and Kate Middleton, this is the true story of how the young Princess became a great Queen.—Vision Films [us}

Queen Elizabeth II: The Diamond Celebration

Queen Elizabeth II: The Diamond Celebration (2012)

Charlotte Ray Rosenberg

Kelli Dawn Hancock

Andrea Bogart

Jennifer Marshall

When Sophia gets into an exclusive cheer camp with best friend Jack and her new friend Charlotte, she's ecstatic to show off her skills. Camp queen bee Victoria and her overbearing mother Beth do not take kindly to a newcomer taking her spotlight, so they launch a dangerous plan to get their rival out of the way.—Hybrid, LLC

Cheer Camp Killer

Cheer Camp Killer (2020)

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