Furias

In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.

In a remote village in Morocco, Najib, 14 years old, is convinced that there are blue stones in the desert, whose vision has haunted him for years. Taken for a madman by his friends, he also faces the incomprehension of his family. Only the old sheikh believes in his story. One day, the council meets to decide on his case.

An army veteran with a shattered leg returns to his home in Port Afrique after war only to find his wife has been murdered. He's determined to find the killer, even if it means uncovering family secrets he never knew about.

Naples. Present day. Giovanna, a combative 60-year-old social worker on the frontline of the daily war against pervasive criminality, is confronted, like a modern Antigone, with a moral dilemma that threatens to destroy her work and her life. Giovanna runs an after-school centre that takes care of underprivileged children; a grassroots alternative to the mafia dominance of the city. But one day, young Maria, wife of a ruthless Camorra criminal on the run, and her two children take refuge at the centre, and ask Giovanna for protection.

In 1982, Wim Wenders asked 16 of his fellow directors to speak on the future of cinema, resulting in the film Room 666. Now, 40 years later, in Cannes, director Lubna Playoust asks Wim Wenders himself and a new generation of filmmakers (James Gray, Rebecca Zlotowski, Claire Denis, Olivier Assayas, Nadav Lapid, Asghar Farhadi, Alice Rohrwacher and more) the same question: “is cinema a language about to get lost, an art about to die?”

A tough-as-nails burglary crew from the streets, a Cuban cartel, heavy into voodoo, ruthless Albanian gangsters, and a blood diamond deal that erupts into all out violence. This throws the criminal underworld into chaos. Double-crosses and brazen gangland executions entwine everyone in a street war that plays out to an explosive ending.

In 1972, disenchanted about the dreary conventions of English life, 25-year-old Julia heads for Morocco with her daughters, six-year-old Lucy and precocious eight-year-old Bea.

The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.

Martijn, an idealistic Dutch pianist, travels to Morocco to help start a food program for malnourished children. Within moments of his arrival, however, Martijn is abducted by a group of terrorists, injected with a debilitating drug, and imprisoned. Under threat of death, the young man engages in a mental chess match with Ahmat, trying to learn his captor's true objective and avoid a horrible fate

Following a stint behind bars, a thief returns to where he buried his loot, only to find that his hiding spot is now a shrine to an unknown saint.

Three NYC stories at a climax. Stories about breaking up, losing, leaving, giving away... the things or people you love, you live with, you depend on, which formed your past... The stories are about how difficult this is, how terrifying and how frightening. Yet, you HAVE to do what you have to do. The three girls are met at the turning point of their lives. The film is wonderful written, with few words and a great, exciting pace (though it takes its time and lot of it). Stop: there may be a lot of words, sometimes, but what's important is between-the-lines. The performances are marvellous. Style and location (all shot "on location") remind of this specific independent NYC style of Jarmusch, Poe, Seidelman, Silver, etc.