Film Man Of God Enfrancais

During the roe deer hunt, which was organized by the representatives of the upper class, one of the members of the detachment mysteriously dies. Newspaper reporters are conducting their own investigation into the murder.

A man is in a room.

Martín is a tormented and solitary man who hides a shameful and unspeakable secret: he lives with a life-size doll which he treats as if it were his wife. This idyliic, loving existence will be gravely threatened when a prostitute, her daughter, and a pimp enter his life.

In the early years of the twentieth-century a young gambler returns to his home town where he finds the gang of which he was once a member engaged in a feud with a rival gang. Though he successfully settles their differences he is turned out of the organization for the way in which accomplishes it. Upon his return he finds that the fortunes of the group have declined - there has been treachery and desertion. This time with the approval of the seniors he settles the differences with a duel. After winning, however, he declines the position of gang-boss, preferring his freedom, and once more leaves town.

The lives of two men who live on the streets of Caracas, Venezuela, are followed in a documented prophecy of the coming underground rebellion.

A woman named Saki is discovered covered in blood and sat next to the body of an actor in the elevator hall of a condominium. She smokes a cigarette and seems stunned. The film takes audiences back two years in the past, a time when Saki, a staff member on a film, met the actor, Sho, on set and fell in love. He used her badly and had another woman on the side and so Saki reveals how strong her love is and the event occurs that night we first meet her. A short film directed by Shinzo Katayama, whose debut feature film Siblings of the Cape attracted and was screened in different countries. He also has a credit as an AD on Bong Joon-Ho’s mystery-thriller film Mother and Nobuhiro Yamatshita’s The Drudgery Train. The script is by Yukiko Sode who is responsible for Good Stripes and Aristocrats.

After experiencing traumatic nightmares of a time now past, the Sorceress summons Prince Adam and Cringer to Castle Grayskull to give Adam a precious, jeweled sword and send the pair to the planet Etheria to investigate its secrets.

Adrian Frutiger was one of the most important type designers of our time. The Swiss, born in 1928, created more than thirty fonts, including the world-famous Méridien, Univers and Frutiger type families. Less well-known are his extraordingary freely conceived works. This film is a straightforward, sensitive portrait of the designer and his work which presents Adrian Frutiger's achievements and his relationship to nature in a new way. All the cinematography is done in High Definition, stills of the well-known Swiss cameraman Pio Corradi and the music composed by famous Swiss songwriter Hanery Amman add to the very personal portrait.

The life of the pope John-Paul II, from his youth as a writer, actor, and athlete in war-torn occupied Poland to his election as Pope at the age of 58.

Poon is a hardworking guy. When his parents passed away, he quit school and started working to provide for himself and his little brother. Poon opened a somtum stall in front of his rented house but could barely make ends meet. That was until one of his customers recruited him as a chef for a hotel owned by his friend. The hotel owner, Tian, is a young and hot-headed businessman. They had actually met each other before and they had a bad impression of each other. When Poon found out that Tian was the hotel owner he immediately refused to work there. However, Tian challenged him to do the job and, not wanting to be looked down upon, Poon decided to accept the position. Tian fell in love with Poon's food once he tasted it but didn't want to lose face by admitting that to Poon, so he told Poon that the food was horrible. The two always fought when they saw each other. But after some time, their daily spats grew into something special.

"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF