The Mexican horror film La Llorona begins with a very happy young woman named Margarita (Luz Mara Aguilar) who is planning her wedding to the love of her life. Her uncle (Carlos Lopez Moctezuma) refuses to give his blessing to the union. She goes through with the marriage and soon gives birth to a son named Jorgito. When he gets older, Jorgito learns that the family suffers from a curse that causes woman to kill their children. In order to keep the curse from perpetuating itself, Jorgito begins plotting the murder of Margarita.
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Two strangers, Jerzy (Leon Niemczyk) and Marta (Lucyna Winnicka), accidentally end up holding tickets for the same sleeping chamber on an overnight train to the Baltic Sea coast. While handsome, well dressed and rather laconic, Jerzy seems ill at ease, while Marta is not talkative and would prefer to be alone. Staszek (Zbigniew Cybulski) is a student and Marta’s spurned lover, and will not leave her alone. When the police enter the train in search of a murderer on the lam, rumors fly and everything seems to point toward one of the main characters as the culprit.
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An obscured thief breaks into a school gymnasium at night to steal a portable telescope from the science lab. On the following morning, the thief, Tomek (Olaf Lubaszenko) sets up the telescope on his desk, facing the window of his room, and across the courtyard into an adjacent apartment. Later in the day, an attractive, hurried woman named Magda (Grazyna Szapolowska) stops by the post office in order to claim a money order after receiving a notification in her mailbox, only to be informed by the attentive young postal clerk, Tomek, that there is nothing being held at the station on her behalf. Back home, Tomek sets his alarm clock to 8:00 pm, the approximate time of Magda’s return home.
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Death from the very beginning – a rat decomposing in the water, a cat hanging from a railing as giggling children run off. In Krzysztof Kieslowski’s expansion of the Decalogue: Five segment (“Thou shalt not kill”), the commandment bounds individual and governmental killing into one object of anguished contemplation.
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Jerzy Skolimowski’s second feature (and first full-length narrative) cemented his status as a one-man Polish New Wave, with the rhythms of his films influenced as much by jazz and (his own) poetry as by more conventional storytelling. Skolimowski himself plays a dropout-turned-amateur boxer who’s distracted from his bouts when Teresa (Aleksandra Zawieruszanka), an old university friend, re-enters his life.
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There are breakpoints in the history, the result of a single event may change the whole course… In 1909, an assassination attempt of a Japanese governor fails – the assassin was shot by a soldier. Now, in 2009, Korea is just another state of the Japan Empire and Seoul has become a major city. A Korean resistance group called Hureisenjin is formed to fight for liberty and independence. Two cops, a Japanese and a Korean (who denies his heritage) are investigating the actions of this “terrorist” group. And their work lead them to an artifact of the ancient Korean religion of “Sun and Moon”.
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The Ten Commandments, exact and uncompromising, literally cast in stone, continues to provide a source of moral conflict in contemporary society. In the ten part epic masterpiece, Decalogue, Krzysztof Kieslowski examines the dilemma of fundamental sin in the lives of ordinary Warsaw citizens.
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A charming, smooth-talking gambler calling himself Chris Hale arrives in Ashton, home of the Corelli shoe factory. Claiming to have lived there as a boy, he soon ingratiates himself with the townspeople… including attractive heiress Elaine Corelli, wheelchair-bound since a recent accident. Chris, hoping to leave crime behind, seems to have excellent prospects; but of course, his past catches up with him…
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Four war pilots that have been fighting together go seperate ways and meet up again years later.
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It’s a hot summer day in 1933 in South Philly, where 12-year old Gennaro lives with his widowed mom and his ailing grandpa, who sits outside holding tight to his last quarter, which he’s promised to Gennaro and which Gennaro would like to have to buy a ticket to the plush new movie theater. But grandpa’s not ready to pass on the quarter or pass on to his final reward: he has some unfinished business with a woman from his past, and he enlists Gennaro to act as his emissary.
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