The modern day Four Horsemen continue to ride roughshod over the people who can least afford it. Crises are converging when governments, religion and mainstream economists have stalled. 23 international thinkers come together and break their silence about how the world really works and why there is still hope in re-establishing a moral and just society. Four Horsemen is free from mainstream media propaganda, doesn't bash bankers, criticize politicians or get involved in conspiracy theories. The film ignites the debate about how we usher a new economic paradigm into the world which, globally, would dramatically improve the quality of life for billions.—Anonymous

Four Horsemen

Four Horsemen (2012)

Matthew Goode

Eddie Marsan

Stellan Skarsgård

Dominic Cooper

Wondering about the meaning and modalities of their triage, presumably to live or burn, Jewish Auschwitz barrack mates start to debate on how or why God can allow (his) people to suffer such fatal misery, which even further divides a devout father and his liberal son. They eventually form a Thora court, which hears theological argumentation as well as practical considerations.—KGF Vissers

God on Trial

God on Trial (2008)

Rose McIver

Lucy Lawless

Kevin Sorbo

Simone Kessell

Hercules returns home to visit his mother Alcmene and to the wedding of his best friend Iolaus. Out of the blue, the villager Pithus arrives asking for help to Hercules to defeat monsters that are attacking his distant village. Hercules travels with Iolaus to fight the monsters and soon they learn that they are indeed Amazons controlled by the evil Hera.—Claudio Carvalho, Rio de Janeiro, Brazil

Hercules and the Amazon Women

Hercules and the Amazon Women (1994)

Despite his father's opinions, a working-class Austrian boy joins the Vienna Boys' Choir and proves to be unusually talented. However, the head chorister, Peter, becomes jealous and will do everything in his power to ruin his rival's public performance.—mattyscatty50

Almost Angels

Almost Angels (1962)

A.J. Buckley

Riley Smith

Ryan Hansen

Mark Curry

Andrea Carson loves motocross, despite the fact that her father finds her unsuited for the sport, being "just a girl." Her twin brother Andrew breaks his leg just before a big race, and while their father heads to Europe to find a replacement rider, Andrea secretly races in Andrew's place with her mother's help.—Anonymous

Motocrossed

Motocrossed (2001)

Balul de sîmbata seara

Balul de sîmbata seara (1967)

Centuries ago, in what would become the Canadian Arctic, Atuat is promised to the malevolent Oki, son of the leader of their tribe. But Atuat loves the good-natured Atanarjuat, who ultimately finds a way to marry her. Oki's sister, Puja also fancies Atanarjuat, and when she causes strife between him and his brother Amaqjuaq, Oki seizes the opportunity to wreak a terrible revenge on Atanarjuat.—Shannon Patrick Sullivan

Atanarjuat: The Fast Runner

Atanarjuat: The Fast Runner (2001)

Helena Bonham Carter

Lena Headey

Sam Neill

Miranda Richardson

The legend of King Arthur ( Paul Curran ), this time, from the perspective of the King's Wizard, Merlin ( Sam Neill ). Merlin is a creature born of pagan magic, living in a world converting to Christianity. Merlin is beside Arthur as he gains Excalibur, builds Camelot, and is betrayed by his wife, Guinevere (Lena Headey). Merlin and Arthur are menaced by the plots of Morgan Le Fey (Helena Bonham Carter), her son by Arthur, Mordred (Jason Done), and their cohorts. Through it all, Merlin tries to keep Arthur from the destructive path set by fate.—Michael "Rabbit" Hutchison

Merlin

Merlin (1998)

The debut feature by acclaimed Italian director Paolo Sorrentino (La Grande Bellezza) is a stylish and blackly comic look at the dark side of fame. Evocatively set during the eighties, the film charts the decline of two men both named Antonio Pisapia who lead entirely separate yet strangely parallel lives. One (Toni Servillo, Gomorrah) is a pop singer who finds himself washed up after a sex scandal ends his run of success; the other (Andrea Renzi) a football hero whose playing career is abruptly cut short by injury. Sharply observed and featuring excellent performances from the two leads, Sorrentino's compelling film explores the personal consequences wrought by cruel reversals of fortune.—Anonymous

One Man Up

One Man Up (2001)

Richard Roundtree

Ian McShane

Carolyn Jones

Austin Stoker

A saga of African-American life, based on Alex Haley's family history. Kunta Kinte is abducted from his African village, sold into slavery, and taken to America. He makes several escape attempts until he is finally caught and maimed. He marries Bell, his plantation's cook, and they have a daughter, Kizzy, who is eventually sold away from them. Kizzy has a son by her new master, and the boy grows up to become Chicken George. He's a legendary cock fighter who leads his family into freedom. Throughout the series, the family observes notable events in U.S. history, such as the Revolutionary and Civil Wars, slave uprisings, and emancipation.—Eric Sorensen

Roots

Roots (1977)

Lisa Gastoni

Alba Rohrwacher

Maria Montessori: una vita per i bambini

Maria Montessori: una vita per i bambini (2007)

Kiefer Sutherland

Megan Follows

Peter O'Toole

Phyllis Diller

Clara is on the verge of growing up with dreams of traveling the world in the grand ballet. Then, during the annual Christmas party, the mysterious family friend, Drosselmeier, tells her a story about a young man named Hans who rescued a princess under a spell by the Mouse Queen and her whining son. As punishment for his good deed, the Mouse Queen managed to transform Hans into a nutcracker (prince of the dolls) before her death; the same nutcracker Drosselmeier gives to Clara that day. When midnight comes, Clara finds herself trapped in the middle of a battle between the mice and her toys being lead by the confused nutcracker. If the prince of the dolls can defeat the Mouse King and win the hand of a fair maiden, it can break the curse upon him. However, Clara must chose between the dreamworld of her new companion and his adventures or her real world where the dreams and adventures of growing up still await her.—Max Vaughn

The Nutcracker Prince

The Nutcracker Prince (1990)

Joseph Gordon-Levitt

Helen Mirren

Stephen Dorff

Vanessa Ferlito

Mikey and Rose are professional assassins. They are also lovers, and once upon a time, Rose and Mikey's father were lovers. During an elaborate hit job for a malicious gangster, Rose fails to kill the main target, the gangster's pregnant girlfriend. Instead, she delivers her baby and convinces Mikey to help her protect them both. As Rose weakens from cancer, Mikey becomes breadwinner for this unusual family. But tranquility will not last.—Peter Brandt Nielsen

Shadowboxer

Shadowboxer (2005)

Terence Hill

Bud Spencer

The "Trinity" crew makes another modern era film. Plata and Salud are pilots ditching aircraft for insurance money. They wind up crashing for real in the jungles of South America. The plot involves "Mr. Big", who is buying the diamonds from the miners for much too little, and has thugs who keep the price down. Of course, Plata and Salud side with the miners...—Graham Niven

All the Way Boys

All the Way Boys (1972)

Harvey Keitel

Maia Morgenstern

In "Ulysses' Gaze" ("To Vlemma Tou Odyssea," 1995), a Greek-American filmmaker, not named in the film, and only referred to as "A" in the script, is on a quest to find three lost reels of undeveloped film, the first ever produced in Greece, from around 1905. These films are in fact the first cinematographic record, the first "gaze" in the philosophical sense, into the soul of the region. As the title implies, the story will take the form of an odyssey that begins in Greece and continues through Albania (the former Yugoslav Republic of Macedonia, known to the Greeks as the Republic of Skopje), Bulgaria, Rumania, Serbia, and finally Bosnia.The film opens with an old black and white silent film that shows some village women weaving. In a voice-over, Harvey Keitel comments, "Weavers in Avdella, a Greek Village, 1905, the first film made by the brothers Miltiades and Yannakis Manakis, [who filmed] all the ambiguities, the contrasts, the conflicts in this area of the world." For those of you who would watch "Ulysses' Gaze" only to find out if these three films ever existed, you now know the answer, and you don't have to watch to the end. But if you follow the advice of the Greek poet C. P. Cavafi, in his poem "Ithaca" (1911): "When you start on your journey to Ithaca, / then pray that the road is long, / full of adventure, full of knowledge", then you will enjoy the next 180 minutes of the journey.Following this antique piece of film showing the weaving village women, and before the opening titles, we see a small masterpiece of a scene, as only Angelopoulos can produce. An old man, standing on a quay, is getting his old-type camera ready to film a sailing ship coming out of the harbor of Salonika. The old man is Yannakis Manakis, and the scene, which took place in 1954, is recounted to "A" out of the camera's field of view by an old man who had been Manakis's assistant at that time. The assistant is not shown as he would have been at the time, but as he is today. While we watch Manakis finish preparing his camera and his assistant standing behind him recounting the event, the films takes on color. As the blue ship appears on the right side of the screen, Manakis is struck by a heart attack and collapses in a chair. The assistant walks toward the right of the screen, all the while continuing with his story. The camera scans to the right, and we discover "A" standing. "A" walks leftward, passing the point where we had just seen Manakis and his camera, but they are no longer there. We continue following "A" walking to the left, until the blue ship reappears in the field of view. The camera now follows the ship, slowly zooming in, until the ship stands still and fills the screen. Eventually, the camera stops tracking the ship and it disappears to the left. We are contemplating a blue-grey sea that dissolves into a sky of the same color. In his long shot, Angelopoulos has covered sixty years, and set the tone for the whole journey.As the film begins, "A" (Harvey Keitel) has arrived in a rainy Florina, a town in northern Greece, where one of his films is to be shown. The film is somehow controversial, and religious fanatics plan to demonstrate against its screening. One of the screening organizers advises "A" to leave town for his own safety. As "A" is about to enter a taxi, a woman (Maia Morgenstern) in her thirties passes him by and "A," apparently stunned, follows her, muttering to himself: "I did not expect you here." She disappears between the groups of demonstrators and counter-demonstrators who face each other. Morgenstern, who plays the roles of four different women in the film, is "A's" old love whom he left years ago, and therefore, a Penelope figure. The two groups rush toward each other, but the resulting confrontation is left unseen.Cut to a dreary winter day, with snow on the ground. "A" arrives at an Albanian border crossing in a taxi. While the taxi driver (Thanassis Vengos) tends to the police formalities, "A" notices an older lady (Dora Volanaki) with a suitcase standing nearby. "A" walks toward her, and she asks if he could give her a lift to a town over the border. She plans to visit her sister, whom she has not seen for forty-five years. "A" agrees and helps her into the taxi. Just then, a group of people arrives in a bus: they are illegal Albanian immigrants who were rounded up by the Greek police and are being return to their home country. As "A's" taxi proceeds across the Albanian side of the border, we see all along the road, in a desolate and gloomy snowy landscape, hundreds of Albanians standing like statues, waiting for a chance to sneak into Greece. The taxi reaches the town of Korytsa, stops in the middle of an empty square, and "A" helps the lady out. The taxi leaves, and a tracking-back long shot reveals the isolation and desolation of the town.The taxi continues toward the Macedonian border, but it has to stop because of snow on the road. The friendly taxi driver sensibly decides against a perilous crossing, and settles down, waiting for the snow to be cleared. He engages "A" in a conversation while listening to Greek music and drinking. He says, "Greece is dying.We are dying as a people," reflecting on the present situation of Greece and its people."A" arrives, apparently on a bus in Monastiri, in the Republic of Skopje. He is looking for the original home of the Manakis brothers. He stands in front of the door, and the film dissolves into old black and white footage made around 1956 by the Manakis brothers. The house is now a museum, and "A" enters. Inside, he briefly meets with a young lady (Maia Morgenstern), who gives him the cold shoulder. Later that evening, on the train to Skopje, "A" meets her again. He explains in detail his journey's purpose, and we learn that the young woman's name is Kali, which stands for Calypso, the goddess who held Ulysses captive for seven years on her island, Ogygia.. Kali tells "A" that the Manakis' films are not in the Skopje film archives. In Skopje, "A" is continuing on by train to Bulgaria and Kali is on the platform. "A" recounts to her an event he witnessed two years earlier on the island of Delos. The train has started leaving the station and is picking up speed. Kali is running on the platform alongside the train, fascinated by "A's" story. Finally, "A" grabs her and pulls her aboard. He continues his story, and Kali is so moved by it that she does not resist "A's" passionate embrace. She will now share "A's" journey.The train pulls in the station at the border. "A" and Kali are asked to step down -- apparently, there is something wrong with "A's" passport. Past and present mix once more: the train station alters and "A" finds himself being interrogated by an official dressed in turn-of-the-century clothing. "A" is now being addressed as if he were Yannakis Manakis. He is accused of sedition against the state of Bulgaria.. Although "A" protests that he does not understand, he is blindfolded and taken before a firing squad. At the last moment, a messenger arrives: King Ferdinand of Bulgaria has commuted Yannakis Manakis' sentence to exile until the war (The Balkan war of 1912-13) is over."A" is reunited with Kali outside the contemporary police station. They board another train for Bucharest. As they step off the train, a young women (Mania Papadimitriou) in 1940's dress comes and addresses "A" as if he were a child. "A," in turn, calls her "Mother," and he apologizes for missing her funeral. Once more, we find ourselves in a time-warp, where "A" has returned to "his" childhood. They board a bus that takes them to their old home in Kostantza, on the Black Sea. They enter the house, where all of "A's" deceased "relatives" are dancing. He greets each one in turn, as a well-mannered child would. A man in rags appears in the room: it is his "father" returning from prison. The celebration of the father's return and of the New Year begins. We are in 1945, and there has been a temporary switch in the roles: "A," as Telemachus, is greeting the return of his "father," Ulysses. This is a familiar style that Angelopoulos has used in "The Travelling Players," where this single scene, lasting some fifteen minutes in one continuous shot, covers five years as the characters waltz through the 1948 arrest of an uncle, to the 1950 New Year's Eve celebration, when the family is finally allowed to return to Greece. Through this scene, we now understand that "A's" memory has now merged with that of the Manakis' brothers."A" awakens in a contemporary hotel in Kostantza, with Kali at his side. They go to the harbor, where a huge statue of Lenin is being loaded on a barge, in preparation for traveling up the Danube to Germany. A tearful "A" tells Kali, "I cannot love you," just as Homer's Ulysses tells Calypso upon leaving her. "A" climbs aboard the barge, leaving a bewildered Kali on the quay. As the barge proceeds up the Danube River, groups of people on the riverbank stand in awe, many crossing themselves. This long traveling shot, accompanied by ethereal music, reminds us of the taxi ride in Albania. Toward the end of this shot, Arvanitis' camera, as if looking into Lenin's soul, circles slowly around the broken head of the statue, as a meditation on a ruin of the past.Arriving in Belgrade, "A" is met by his old friend, Nikos (Giogos Michalakopoulos) who, paraphrasing Angelopoulos' favorite poet, George Seferis, greats him with, "When God created the World, the first thing he made were journeys." To which "A" answers, "and then came doubt and nostalgia." They go to an old people's home, where they meet with an old man who was once in charge of the Belgrade Film Archives. The old man says that the Menakis' films are now with one of his friends at the Sarajevo Film Archives. Nikos and "A" end up in a café, drinking to the memories of old friends, and continue their voyage into nostalgia while drinking in the street. Obviously, Belgrade has become Ulysses' descent into Hades in the Odyssey, where he went to meet old friends and get instructions to complete his journey. "A" decides that despite the danger, he must go to Sarajevo. Nikos tells him to follow one of the many rivers which lead to it.Night time. "A," asleep in an old shack, is being awakened by a young lady (Maia Morgenstern, yet again). They are in Philipoupolis, Bulgaria, and the year is 1915. Morgenstern now assumes the role of Homer's Circe, the sorceress. She leads "A" to the river, and they escape in a small boat. The next scene shows them on a bright morning, floating down the river. The couple eventually lands on the shore of a village in ruins, and they walk to a particular house, which used to be the woman's. The house, gutted by a conflagration, is in ruins. The woman, grief-stricken, desperately calls out, "Vania!" the name of her husband, who must have perished during the village's destruction. In the debris, "A" finds a picture frame with a turn-of-the-century wedding picture, which most likely is that of the woman and Vania. In a somewhat surrealist scene, a table with a white tablecloth has been set up in the midst of the rubble, and it is there in the evening where "A" and his companion have dinner. In the background, the rumble of guns and sharp explosions can be heard.When "A" wakes up, he is naked. He wraps himself in a blanket, walks outside, and sees the woman washing his clothes. She comes back to the house and gives him some of her husband's clothes. The woman goes to the river and demolishes the boat with an axe, obviously in order to hold "A" captive, as Circe also tried to do with Ulysses. She returns to the house, and seeing "A" dressed up in her husband's clothes, pulls him to the floor and makes passionate love to him.In the next scene, in the darkness, "A" has escaped Circe. He is drifting down the river in a small boat. At dawn, he arrives in Sarajevo. He eventually finds his way to the Film Archives, where he meets a young boy who takes him to an underground market to meet the Archives curator, a Jewish man by the name of Ivo Levy (Erland Josephson). They walk back to the gutted Film Archives building, each carrying containers of water. The siege of Sarajevo has been going on for some time, and the whole town is in ruins, its infrastructure destroyed. People risk their lives daily while fetching water at some of the still functioning water fountains, braving the bullets of Serbian snipers. Running back to the Film Archives, "A" explains to Levy the purpose of his coming to Sarajevo. Levy does have the three films and has tried repeatedly to find the correct chemical formula to develop them, but to no avail. . However, impressed by "A's" courage and determination, Levy says, "You must have great faith, or is it despair?" and agrees to try one more time.At the Film Archives, "A" goes to sleep and when he awakens, he meets a young woman, Levy's daughter, Noami ( Maia Morgenstern in her fourth role), a contemporary Nausicaa;. "A" is obviously struck by Noami's familiar face. By now, we understand that "A" has projected his past lovers in every woman he meets. Noami leaves, and "A," looking around, sees that Levy has already started to get the lab working again. Later that night, Levy wakes up "A" and brings him to his lab where the development of a roll of film is in progress. At last, Levy is successful. "A" and the archivist are overwhelmed with joy and they embrace: after almost 100 years of being captive, an image of Greece from the turn of the century has at last been set free.The whole place is now flooded with fog. Levy explains that this is a welcome time for the inhabitants of Sarajevo: because of the fog, the Serbian snipers cannot operate, and the population is free to come outside their shelter and enjoy the open air. As "A" and Levy walk past a cemetery, we see some people taking advantage of the lull to bury their dead, Moslem and Orthodox Christians alike. The two friends come across an orchestra playing in a small square. Levy explains that it is made up of young Muslim, Croat, and Serb musicians. There is also a small production of "Romeo and Juliet" going on.Further on, some couples are dancing to a rock tune. Out of the fog, Naomi appears and invites "A" to dance. The music changes to a 1950s tune, and Naomi has now become the Penelope whom "A" had left behind in Florina, long time ago.Levy's family joins the trio and they walk together in the fog toward the river, with Levy and "A" straggling behind. Suddenly, there is a noise of a car stopping, doors slamming, and men's voices. Levy tells "A" to stay put and runs in the fog to rejoin the rest of the family. We hear Naomi's cry of, "not the children!" as gun shots are followed by splashes as bodies are dumped into the water. The car leaves and there is total, eerie silence. Throughout, we stare at the fog, only able to guess at the events that have just occurred. As always, Angelopoulos lets us contemplate the meaning of violence, rather than actually showing it. "A" runs to the spot of the massacre where he first finds Levy dead in the snow, and then Naomi. He embraces her, embracing at the same time all the women he has loved and lost. In helpless rage and anger, he releases several heart-wrenching screams. He returns slowly to the Film Archives, passing once more by the still-playing orchestra.The final scene shows a blank projection screen where a film has just been shown, most likely one of the Manakis' films. Then, a close-up shot of "A," followed by a zoom backward, as he speaks Ulysses' lines to Penelope,"When I return, it will be with another man's clothes""A" has reached his Ithaca, but his odyssey may not be over yet, as he is now looking toward another Ithaca.

Ulysses' Gaze

Ulysses' Gaze (1995)

Beverly D'Angelo

Karen Austin

Cuba Gooding Jr.

Paul Hogan

Lightning Jack

Lightning Jack (1994)

Tara Strong

Alexis Denisof

Olivia d'Abo

Grey Griffin

After their exciting adventure in Tarzan (1999), Tarzan, the mighty lord of the apes, and beautiful Jane Porter, his elegant mate, celebrate their first year together. To find the perfect gift for Tarzan, Jane combs the jungle, even enlisting the help of Terk, the gorilla, and Tantor, the elephant. As their first wedding anniversary approaches, Jane recalls their many adventures and realises what an exciting year it's been in the jungle so far, outsmarting panthers or surfing the lava down an erupting volcano. Their old friends, and their new enemies, remind Tarzan and Jane that, even though they come from entirely different worlds, when together, they are an unbeatable, unrivalled team. However, has Jane made up her mind? Above all, what surprise has Tarzan in store for Jane?—Nick Riganas

Tarzan & Jane

Tarzan & Jane (2002)

Fahim Fazli

Nafas is a reporter who was born in Afghanistan, but fled with her family to Canada when she was a child. However, her sister wasn't so lucky; she lost her legs to a land mine while young, and when Nafas and her family left the country, her sister was accidentally left behind. Nafas receives a letter from her sister announcing that she's decided to commit suicide during the final eclipse before the dawn of the 21st century; desperate to spare her sister's life, Nafas makes haste to Afghanistan, where she joins a caravan of refugees who, for a variety of reasons, are returning to the war-torn nation. As Nafas searches for her sister, she soon gets a clear and disturbing portrait of the toll the Taliban regime has taken upon its people.—Ørnås

Kandahar

Kandahar (2001)

Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men.—Anonymous

13 (2005)

Karakaj is a small village on the border of Serbia and Bosnia. Luka is a railroad keeper who sees his life fall into a turmoil when the 1993 war breaks: his young son is taken by the army, and his crazed wife escapes. His village friends kidnap a muslim nurse and plot to exchange her as a POW for Luka's son. None of them knew that she had a crush on Luka...—Anonymous

Life Is a Miracle

Life Is a Miracle (2004)

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