16-year old Rhiannon falls in love with a mysterious spirit named “A” that inhabits a different body every day. Feeling an unmatched connection, Rhiannon and “A” work each day to find each other, not knowing what the next day will bring.
Ned (Liev Schreiber) is in the throes of a mid-life crisis. His work as a writer on an outrageous, semi-pornographic TV show is less than satisfying. His fifteen year old son has just told him he is gay and his eleven year old is afraid of, well pretty much everything. When his wife, Jeannie (Helen Hunt), moves her sick and embittered father (Brian Dennehy) from Detroit into their home in NY, it puts added stress on an already strained marriage. And when a sexy female co-worker (Carla Gugino) puts the moves on Ned, the temptation sends him spiraling. EVERY DAY is about one family's struggle to survive the unexpected curve-balls that are simply part of real life; aging and death; commitment and freedom; love and acceptance. It's an uncompromising look at an ordinary family making an extraordinary journey towards themselves and towards each other.
Scientist Shane Brown neglects his new bride, instead spending their honeymoon searching for an old colleague who disappeared after a research paper he had written was discredited by the medical community. It turns out that Dr. Semeneau is living in obscurity in order to protect his wife, whom he keeps prisoner in a room with boards nailed across the doorway. The narrative unfolds the dark secret that drives each party.
Story of a woman scorned.
Joy Johnson would wake up before each dawn, pour herself a cup of coffee, lace up her running shoes, and read this Bible verse from Isaiah: “They shall run and not be weary.” This ritual went on for more than two decades but didn’t start until Joy was 59. That’s when she first took up running, after raising her four children. Joy would go on to run 25 New York City Marathons, the last in 2013 at the age of 86. This film uses evocative footage and Joy’s own words to tell the story of this remarkable woman, who was born on Christmas Day in 1926 and inspired us all.
Jirka is a composer, his wife, Jana, a pianist. Jana would like to have an own concert, but so far she has only been selected to accompany Valenta during his concerts in Budapest. After some resentments, she accepts the proposal.
"There are two movies I saw on TV about boys who were taken from their families and then returned to them years later. One boy was on a fun spaceship for years and the other boy was kidnapped and molested. These boys were never the same again and they just couldn't re-integrate into the family. I saw these movies when I was little. I've often described them to people, always paired together. They are sort of the comedy and tragedy version of the same story and it is a mundanely spiritual story. Getting Stronger Every Day includes these boys' tales, but they are like mystical objects placed on the living reality of the man storyteller. In other parts of the movie actual mystical objects hover in peoples lives without a myth or story attached. I like to think about how these dimensions interact simply and can be enacted: real life / story / worldly / spirit / video / flat drawing."
Billy Jackson is not having a good Christmas. He got a basketball for Christmas and just cannot make a jump shot. His Uncle David is coming to town to open a Valu-Mall, which will put his Dad's store out of business. When he tells his little sister Sarah that there is no Santa she makes a wish that it would be Christmas every day. Billy now has to relive Christmas Day over and over again.
Sandbox “All Day Everyday” Snowboard DVD: Who is Sandbox, you say? Bah! Obvi it’s Kevin Sansalone and Clayton Larsen, along with a team of very talented young designers, filmers and riders. “All Day Everyday” is all about unique footage, good riding and fun mixed with some new faces, new sponsors, and high end HD production. All together this film has a great look and might just make you want to go riding.
Guido and Antonia are a young couple with opposing characters and working schedules: he works a night job as a doorman in a hotel, and she works as an employee for a rental car service. This is the story of what happens to Guido and Antonia when they decide to have a child.
The owner of a travel agencies decides to took a holiday with his family. He combines business with pleasure and undertakes a tour of inspection of some of his enterprises. Incognito he arrives with his family at the Castle Hotel on the Wörthersee. But the hotel manager has been warned of the impending visit and means to give the important guest the red carpet treatment. Unfortunately he does not know him personally and so takes the wrong man for the incognito inspector. Neither of the two men enjoy the mix-up and the poor hotel director has to live through some uncomfortable hours before he manages to pour oil on the troubled water.
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Every Day Except Christmas is a 37-minute documentary film filmed in 1957 at the Covent Garden fruit, vegetable and flower market, then located in the Covent Garden area of East central London. It was directed by Lindsay Anderson and produced by Karel Reisz and Leon Clore under the sponsorship of Ford of Britain, the first of the company's "Look At Britain" series.
In 1515 Machiavelli stated that it is better for the Prince to be feared than loved. Some 500 years later, Michael Hardt, political philosopher and co-author of Empire, Multitude and Commonwealth, asks what it would mean to base a political system on love, rather than on fear. How can we transform a society that is increasingly defined by a permanent state of war and cultivated by an industry of fear? How can we realize the paradigm shift necessary to move away from a reality that depends on the exploitation of people and the cult of privatisation of public resources?
Since the late 1960s, the almost annual productions of Richard Foreman’s Ontological-Hysteric Theater have been among New York’s artistic highlights. A legend of the avant-garde theater, Foreman is also a passionate film fan, whose taste ranges from American avant-garde to Manoel de Oliveira. ONCE EVERY DAY marks his first foray into feature filmmaking in 35 years. Highly visual, complexly edited and without a traditional narrative, the film zeroes in on a group of 25 people acting out a series of semi-ritualistic behavior patterns. But their eccentric impulses are aborted in unpredictable ways with each attempt at action or development. According to the director, “The film slowly evolves a time-mosaic of reformatted consciousness.” Longtime admirers of Foreman’s work will see an intriguing adaptation of his unique theatrical style to the cinema. And for everyone else: Welcome to the extraordinary world of Richard Foreman.
After a bitter argument, a mother and her teenaged son each have a moment of quiet contemplation in Frazer Bradshaw's affecting portrayal of a fragile relationship.
A passionate communist worker is discouraged by the changing political climate and the failure of his peers to live up to his ideals.
Little things in the everyday life of six different people: a pregnant woman who sets off with her daughter to give birth; her husband, who needs to take her to the maternity ward as soon as possible; a woman who is in conflict with the pregnant woman\’s husband regarding a parking dispute; her lover who wants a serious relationship; and a postman who wants this man\’s signature upon a registered letter. People always meet and their lives are interconnected, regardless of who or what they are.
As we wait to see whether Rupert Murdoch will fall from power and lose control of News International, Every Day is Like Sunday tells the forgotten story of the dramatic downfall of Cecil King—the newspaper mogul who used to dominate British media in the 1960s, before Rupert Murdoch arrived.