A fresh young beauty becomes an old maid waiting for her suitor to return from the Napoleonic wars. When he returns, clearly disappointed, she disguises herself as her own niece in order to test his loyalty.

A little papoose, bent on hunting bear, is stopped by his father, the chief, and told to forget the idea. The papoose responds by shooting a rubber-tipped arrow onto the father's nose, and the chief decides to teach his progeny a good lesson.

The life of a stressed-out air controller falls apart as he battles a court case involving a mid-air collision for which an investigator is trying to hold him responsible.

Adela has just settled in Madrid with her father, Claudio, a retired concert musician and a hermit. Both teach piano to small children in a quiet, sparsely-furnished flat in the centre of town.

Two kinds of love are experienced by young Ricky Schroder in this made-for-TV drama. One kind is the tenuous affection he extends to his estranged father when Schroder's mother unexpectedly dies. The other kind consists of the teasing sensations felt by Schroder whenever he approaches a girl his own age.

7人の悪魔超人との闘いを終え、自身の夢であるキン肉マンランド建設のために寄付金を集めるキン肉マン。著名人が寄付に参列するなか、空に暗雲が垂れ込め突如として現れた、メトロ星の宇宙地下プロレス連盟により、チャンピオンベルトと恋人である二階堂マリをさらわれてしまう。 ボスのオクトバスドラゴン3世はキン肉マンと改めて決着を付けるため、マリを人質に「次の日の12時までにメトロ星に来ること。一秒でも遅れれば。女を巨大怪獣ギラザウルスの餌にする」と言いつけ去って行く。 キン肉マンはテリーマンら正義超人（アイドル超人）の協力を得てメトロ星へと向かう。道中、次々と正義超人たちが自らの犠牲になることに疑念を抱き、苦悩するキン肉マンだが、チャンピオンベルトとマリの命を救うためにテリーマンと共に最後の決戦に挑む。

David McDoll is a selfish and wealthy man living an enviable lifestyle in his large villa and collecting fancy cars. However, his life is about to be changed forever when he inherits his six grandchildren. His glamorous lifestyle quickly becomes complete chaos. But he will learn a valuable lesson that teaches him about placing family first and discovering a newfound appreciation for life.

In What’s Ours and What We Are, images, motifs and words that originally served a particular political agenda are playfully manipulated to distort and re-contextualize their original status, satirically articulating the purpose of propaganda which is to ‘speak to’ and ultimately to persuade a spectator.

Unwilling to process a near-fatal car accident, an overworked director arrives late to the set of his horror film to find that most of the crew has left. Determined to complete the film, he and the remaining crew find out that his trauma from the accident refuses to let him go that easily.

Impresario reassembles his troupe of male strippers and buys a brothel for them to turn tricks at.

Marking a stylistically and philosophically turn away from the earlier features, The Sand Rose is Reis and Cordeiro’s most abstract, conceptual and literary work. The film’s collage structure gathers texts from multiple sources – including Kafka and Montaigne – and crafts a world of theatrical artifice far from the documentary inspired naturalism of Ana and Trás-os-Montes. Reis and Cordeiro’s least known film has lingered in obscurity and never recovered from the unfairly negative reviews that resulted in its severely limited release. Reis died less than two years later, just as he and Cordeiro were about to begin an ambitious adaptation of Juan Rulfo’s Pedro Parámo. - Harvard Film Archive

During a session with his psychoanalyst, Alexander Portnoy rants about everything that is bothering him. His complaints include his childhood and his family with an emphasis on his mother, his sexual fantasies and the problems that he has with women, and his obsessive feelings about his Judaism.

An anthology film with three stories, all taking place in the same small town.

Gert van der Graaf, an infamous stalker, reveals how his childhood crush on Abba superstar Agnetha Fältskog turned into an obsession that shaped the rest of his life, thus showing how compulsive fandom can become criminal obsession.