For nearly 300 years, Japan had been hermetically sealed to the outside world. When, in that pivotal year of 1854, the American Admiral Perry took the direct approach that the Dutch had been unwilling to take, the ruling Shogun knew that the dynasty was over. As the shogun began to open up to the outside world, the Sonno Joi movement called for this to be reversed...
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Suen makes a living by selling fish-balls and being a nice likeable guy. One day he accidentally gets caught up in a police chase where a pregnant woman gets killed. A dirty cop frames Suen for the death and he gets sent to jail. When he is released from jail he goes to live with his brother. The next door neighbour is a pretty woman (Rosamund Kwan) who Suen starts to like. Unfortunately it turns out that she has a boyfriend and guess who it is? Yes, it is the dirty cop that framed Suen! Their conflict keep escalating until it starts to turn deadly and it all ends in a last duel!
Wayne is a hitman who wants to retire, so that he can provide a safe life for his wife and their soon-to-be-born baby. He also wants to go legit so that he can convince his dying boss to give up the gangster lifestyle. However, Lai finds getting work in post-Handover Hong Kong tough, and decides to take one last job.
Victor Sluzhkin signs on as a teacher of geography in a secondary school in his native Perm (in the Urals) and gets lost in a haze of hard vodka, desperate love for a nymphet-like student and the stress of educating teenagers. Geographer, as the students immediately dub Sluzhkin, attempts to escape from the grueling, dull, stultifying reality of Russia's provincial life in a rafting tour to the Urals. Accompanied by wild, adventure-seeking adolescents, faced with the numerous grim surprises of the nature, Geographer is poised to find himself and his own truth.
Casey has given up drug dealing for a suburban idyll in Houston, a job as an architect and a new wife. They are even planning to adopt a child. But Casey's past arrives on the doorstep in the shape of Nick, an old business partner. And all hell breaks loose!
A parolee is abandoned by his ex-wife and barred from seeing his young daughter. He develops a relationship with a lonely & troubled woman, saves her from an unlikely assailant and is forced to re-evaluate his freedom as he evades the law and faces demons from his past.
A woman lies dead in a Nottingham flat, her terrified sister barricaded in the bathroom. At 2am a young man in a bloodstained shirt is pulled over for speeding. The three only met that afternoon – what happened in those fatal hours? All there is to go on is what the two survivors say.
Bad News Johnson, a con artist from Memphis, Tennessee, arrives in Dallas, Texas, accompanied by his dim sidekick July Jones with only twenty-five cents between them. The duo arrange to become boarders at the home of Louella "Mama Lou" Holiday, who is fooled into believing Johnson is an acting teacher from Hollywood. Mrs. Holiday agrees to give the men free room and board if they will provide poise lessons to her daughter, an aspiring beauty queen named Honey Dew.
"Join Us" follows four families as they leave a controlling and abusive church in South Carolina and come to realize that they have been members of a cult. The film documents them intimately as they enter the only accredited live-in cult treatment facility in the world. At Wellspring, they learn how they were brainwashed to give up control of their lives to the Pastor and his wife, allowing their children to undergo severe abuse to make heaven. As they emerge from the safety of the treatment facility, the ex-cult members return to their homes to bring the Pastor to justice and struggle to build normal lives. The film also gives voice to the cult leader and his wife, as they struggle to cope with the betrayal of their church family and rebuild their congregation.
Interesting first (silent) movie from Renoir he realized so his wife could have the leading role of Catherine. The movie became an object of quarrel between Renoir and Dieudonné who directed this vehicle together and each played also a part in the movie. Was this a Renoir movie or one of Dieudonné, reducing Renoir to its pupil? The dispute became so heavy 2 versions exist, one cut by Renoir and one by Dieudonné. However the themes are so typically Renoir that I question the claim of the co-director. Like in so many other Renoir movies you see a picture of the relationships between masters and servants, with a clear sympathy for the servants and a great dislike for the hypocrisy of the ruling classes. Also the contradiction between order and disorder (major theme in the complete oeuvre of Renoir) is already present in this first attempt to make a movie.