Shadows Of The Peacock

The Shadows Grow Longer (German: Die Schatten werden länger) is a 1961 Swiss drama film directed by Ladislao Vajda. The film was selected as the Swiss entry for the Best Foreign Language Film at the 34th Academy Awards, but was not nominated.

Mari is a 17-year-old girl who meets the love of her life at the bus stop, what she doesn't know is that this boy hides too many secrets.

The filmmaker returns to Algeria after eight years living in France. Much has changed, and since he arrives on January 6, 2011, just as major riots break out in Algiers, he finds his own questions and concerns echoed in the demonstrations and gatherings—both public and private—to which he brings his camera. Ammar-Khodja's chronological diary-film is intimate, immediate, visceral—and unexpectedly funny. The film documents not only the recent political past of the country, but also the psychological difficulties of "going home again." Ammar-Khodja's mix of genres, grand flourishes, and stylistic touches identifies him as a questioning, searching soul and a talented filmmaker.

Aoi Sakura does not like fighting. However after her younger sister Kasumi and grandfather are attacked she is openly enraged. Will Aoi be able to defeat Rinka?!

Agron and Marjeta are happily engaged until in a trial presided by Agron, two people accused of theft reveal facts that implicate Marjeta's father. Agron is torn between love and duty.

Between Shadow and Light is a documentary about the thought, style and works of "Farah Osuli", a contemporary Iranian painter. He seeks to find a meaningful form to express his thoughts and ideas in his works and has found this form in the rich tradition and subtle beauty of Iranian paintings, architecture and decorative arts.

The prostitutes of Bombay live a nightmare life, yet there are some people who try to bring a little light into the darkness of the brothels. The film follows the lives of women in two brothels in the slums of Bombay. Some of the women are old, some are very young, but they have all been cheated into the business. And cheated out of life. For ten years now, Vinay, a social worker, has been trying to help them by saving them from AIDS and giving them some comfort. Although they are degraded and exploited outcasts, these women manage to retain some human dignity and cheerfulness. And some hope.

The film is about village people, about their love for their land, their honesty in relations.

Amongst the victims’ names, his own. The cassette tape that jams. The telephone that rings. The news of Lucinda coming. The dinner burns to ashes. The fans that roar and the oppressing heat. Lima’s condition is deteriorating, and time no longer exists: all days are one. One lonely day.

Ran (Fiona Sit) is a 23 year old girl that is burden with caring for her older brother Feng (Cheung Kwok Keung) who has a fatal hereditary disease called Arteritis that paralyzes the entire body. She also has to raise and care for his 6-year old daughter Shiayou (Cheung Ching-yu). Feng's wife had taken the entire family savings and left them when she found out he was diagnose with his illness. Ran must take in work as a seamstress at home to make a living and make ends meet. She cares for her brother and niece by day and works throughout the night to rush her work deadline. She doesn't have an easy life so she always has a depressive and sad expression on her face. To make matters worst Ran is afraid one day she or Shiayou will end up like her brother since his illness is hereditary.

Chaque année, les meilleurs combattants de boxe pieds-poings toutes disciplines et toutes catégories confondues s'affrontent dans le but de se qualifier pour l'événement le plus prestigieux des sports de combat : le "Fields K-1 World Grand Prix Final". Le 8 décembre 2007, les 8 finalistes se retrouvent au Japon, à Yokohama, Jérôme Le Banner est qualifié.

The shadow of your smile, when you are gone. A teardrop kissed your lips and so did I.

Doctor Beiral, torn apart by the internal struggle between his social persona and the dark instincts that torment him, manages to use his investigations to give life to the monster that he has long held within him.

General Mchulpich plots a coup with the CIA and South Vietnam to secede two provinces from Cambodia.

Kevin, a young theatre director from Hong Kong, is searching for ideas for his next play with his team, hoping to get funding for an overseas production. Frank, a middle-aged hairdresser in Berlin, is performing his daily routine. Coincidences bring them together, though their friendship is dictated by the parameters of the smartphone. Kevin decides to adapt the stories of the Berlin Wall to the stage, as old memories of living in East Berlin come flooding back to Frank. Shadows, in their literal and metaphorical sense, become the third wheel which silently alters their lives and turns into a story that transcends the boundaries of reason. Through this experimental work, director Terence LI sheds light on the inner space-time of the queer and the displaced.

Our house immerses into the silence of the night, is covered with long shadows, plays with occasional flashes of the warm flame of a kerosene lamp. Darkness for little Stesha turns out to be a tool for the discovery of another world, sometimes scary, sometimes fascinating. Fragments of vague memories, voices, flashes of light – the precious feelings of early childhood that remain with us forever.

Under the Shadow of Azkorri is a visual essay which investigates the spaces of images, departing from a photo taken on the beach of Azkorri (Basque Country). Questioning how a change of perspective might alter the sensibility towards an image, the video evolves around positioning a gesture encountered in the movie Még kér a nép (Red Psalm, 1972). The director subsequently encounters this gesture in a photograph of Russian LGBTQIA+ activist Yelena Grigoryeva. She explores that particular symbol by drawing lines to her own queer sexuality, to the aesthetic representation of communism, as well as to questions of dispossession and appropriation.

Documentary on the Turkish invasion of Afrin in Northern Syria in 2018.

Júlio tries to deal with the fact that his boyfriend is going to die soon.