War of the Worlds Extinction 2024 - Movies (Mar 28th)
Sex-Positive 2024 - Movies (Mar 28th)
The Farmers Daughter 2025 - Movies (Mar 28th)
Dangerous Lies Unmasking Belle Gibson 2025 - Movies (Mar 28th)
Flight Risk 2025 - Movies (Mar 28th)
Alexander and the Terrible Horrible No Good Very Bad Road Trip 2025 - Movies (Mar 28th)
The Life List 2025 - Movies (Mar 28th)
Renner 2025 - Movies (Mar 28th)
The Rule of Jenny Pen 2024 - Movies (Mar 28th)
Bring Them Down 2024 - Movies (Mar 27th)
Love Hurts 2025 - Movies (Mar 27th)
Holland 2025 - Movies (Mar 27th)
The House Was Not Hungry Then 2025 - Movies (Mar 27th)
One Million Babes BC 2024 - Movies (Mar 27th)
Through the Door 2024 - Movies (Mar 27th)
Snow White 2025 - Movies (Mar 27th)
England’s Lions The New Generation 2025 - Movies (Mar 26th)
The Last Keeper 2024 - Movies (Mar 26th)
The Brutalist 2024 - Movies (Mar 25th)
Mufasa The Lion King 2024 - Movies (Mar 25th)
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The One Show - (Mar 29th)
On Patrol- Live - (Mar 29th)
The Last Word with Lawrence ODonnell - (Mar 29th)
The Rachel Maddow Show - (Mar 29th)
The Patrick Star Show - (Mar 29th)
Helsinki Crimes - (Mar 29th)
One Killer Question - (Mar 29th)
The Bold and the Beautiful - (Mar 29th)
Cops - (Mar 29th)
The Price Is Right - (Mar 29th)
The Young and the Restless - (Mar 29th)
Lets Make a Deal - (Mar 29th)
The Kelly Clarkson Show - (Mar 29th)
All In with Chris Hayes - (Mar 29th)
Diners, Drive-Ins and Dives - (Mar 29th)
Gold Rush - (Mar 29th)
Horrible Histories - (Mar 29th)
WWE SmackDown - (Mar 29th)
The Beat with Ari Melber - (Mar 28th)
Gogglebox - (Mar 28th)
Nope, this is another film about which I didn't get the memo. Though Margit Carstensen performs addictively in the title role, the rest of this quickly descends into a rather tedious introspection of a sexually fluid woman who treats her secretary "Marlene" (Irm Hermann) appallingly at the best of times and even worse when attractive, aspiring and ambitious model "Karin" (Hanna Schygulla) arrives seeking a career - and maybe more. "Petra" falls for her: hook line and sinker, but her new paramour doesn't quite reciprocate. The torrid nature of their frequently gin-soaked on/off relationship and conversation now unfold in the static environment of her apartment with a great deal of verbiage and very little actual procress. It's not that it's slow burn - I can handle them. It's that she is dull. She exudes a sense of entitlement and arrogance that I just couldn't engage with. Of course that's testament to the acting to an extent, but I also think there's something of the emperor's new clothes to it all. Who cares about her or her life? Everything around her is disposable - except "Karin", whose repeated attempts to shock and hurt her lover might have worked in their bed, but they didn't work on me as I gradually wanted to brick them all in with a lifelong supply of Bombay Sapphire and let them grind each other to a powder. The film looks great, the costumier and set designer have conjured up a thing of beauty and style, but that can't really help this rather empty and depressing appraisal of people who, "Marlene" and possibly daughter "Gabriele" (Eva Mattes) notwithstanding, entirely deserved each other. I suspect this might have worked better with the intimacy of a stage - indeed much of Fassbinder's direction appears much better suited for that perfectly framed medium, but as a film it left me cold.
Parisian nightclub owner Simone Pistache is known for her performances of the can-can, which attracts the ire of the self-righteous Judge Philipe Forrestier. He hatches a plot to photograph her in the act but ends up falling for her — much to the chagrin of her boyfriend, lawyer François Durnais.
When Miss Vicki's father dies, she becomes the world's greatest philanthropist. Unfortunately, she is flat broke! Her loyal butler, Claude Fitzwilliam, leads the household staff to rob from various businesses by charging goods to various wealthy people and misdirecting the shipments, all to keep Miss Vicki's standard of living.
Adrift in the lush, nocturnal urban landscape of THE GRAFFITI ARTIST, Nick (Ruben Bansie-Snellman) is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For this iconoclastic young visionary, the vast wall surfaces of deserted alleys and train yards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion.
After a perverted impulse drives them to kill, Alice and her boyfriend, Luc, drag the body into the woods, only to find themselves hopelessly lost – much like the fairy-tale plight of Hansel and Gretel. Starving and with no hope of being found, they chance upon a dilapidated cottage where a hulking man takes them prisoner and proceeds to feed Luc's sexual appetite.
Two queer Brazilians go skinny dipping in a lake where they talk about love, sex, colonialism and migration, on a pandemic summer afternoon in Berlin.
A lonely lesbian plagued with thoughts of fruit whenever she attempts to masturbate begins to develop her own sexual prowess. Everything changes when Mina meets confident Georgia in the fruit aisle of a supermarket. With this newfound lesbian companion, a quick prayer to her “Celesbian” icons, and a flurry of new feelings inside of her, Mina starts to clear the oranges, pomegranates, melons, and apples from her brain.
Two straight actors must rehearse for an impending gay love scene. How will they make out?
Pool Blue is an attempt which tells, without dialogue nor rationality, a connection fantasized between two men. It is the fantastical projection which reveals certain eroticism. Pointless and discreet, the desire is present, two men are careful, gauge to the point to create a link of seduction. This link is intelligently staged, it is invisible with the eyes of the other swimmers, mysterious for both men and very explicit for the spectator.
Live chronicle of the landmark federal trial of California's Prop. 8 using the actual court transcripts and first-hand interviews.
Gulabi is a transwoman groomed by her patriarchal father to join the military. When her father disowns her, Gulabi ends up living a life of prostitution in Kathmandu.