L'homme orchestre

A sex toy mishap leads to a night in the emergency room, where a freshly broken-up couple are forced to confront their issues on love and relationships.

The two best rescue workers in the region take off for their umpteenth mission. Professionalism and efficiency all around, but things don't really go as planned.

Katie doesn’t usually sleep with women, but that’s about to change.

Every dog has his day, but poor Dante can't seem to catch a break.

A king hides an embarrassing secret - and it causes him to execute every barber who cuts his hair.

A king steals crowns from various other rulers.

Prep and Landing: On Christmas Eve, a high-tech team of elves from an elite unit known as "Prep & Landing" ensures homes around the world are prepared for Santa's visit. But when two hilarious little elves face unexpected challenges and are pushed to their limits, it'll take a great big effort to save the season. Prep and Landing: Naughty vs. Nice: The outrageous yuletide adventures of Christmas elves Lanny and Wayne continue in this totally tinsel adventure that reminds us there's room for everyone on the 'nice' list. Santa's stealthiest little elves must race to recover classified North Pole technology, which has fallen into the hands of a computer-hacking naughty kid, in an effort to stop Christmas from descending into chaos.

On her first day at a new school, a self conscious young girl learns that friendship can overcome difference.

When Millie discovers she's the last virgin in LA, things get out of hand.

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen - through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things - that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers - that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."