La Fille Qu'on Appelle

Naruto Shippūden Ultimate Ninja Storm Generations OVA Madara vs Hashirama is the tenth Naruto OVA. It is distributed as part of Naruto Shippūden: Ultimate Ninja Storm Generations.

The movie arose out of our sparetime as teenagers with fresh driver’s licenses and cobbled-together camera gear, wandering around a tired and honestly pretty grim post-industrial mill community, reinforced with after-hours access to the darkroom at the Sun Journal (where Aaron’s dad was the visuals editor), and some half-formed education in the techniques of Robert Frank, Frederick Wiseman, Dogme 95, Italian neorealism, pre-Obama Shepard Fairey, plus whatever culture pushed its way through the creaky pipes of low-bandwidth dial-up internet, or was smuggled up the actual superhighway of I-95 from Boston and eventually New York, or mailed first class via United States Postal Service from a burgeoning Netflix in those classic matte red envelopes, as valuable and rare as cash sent from China. [...] Somehow we negotiated access to a Canon XL1 3-CCD MiniDV camera and shotgun mic from the local public access station, in exchange for taping the high school graduation we didn’t participate in.

A doomsday pepper is surprised to find a mysterious box appear in his living room with no trace as to how it could've gotten there.

The dashing mountaineer Zaur (B. Bestaev) kills a Russian "imperialist" thereby becoming an abrek, member of a roving band of outlaws.

“NARUTO to BORUTO THE LIVE 2019”, a special event for the 20th anniversary of the first publication of “NARUTO” series in Weekly Shonen Jump!! Featuring live performances by artists performing the theme songs of both “NARUTO” and “BORUTO: NARUTO NEXT GENERATIONS”, anime cast members reading original story episodes, and more.

The time has come for Sonic Underground Warriors to take a stand against tyranny. Pick up your sword and choose a side!

A Puerto Rican seamstress ponders leaving her island to go live with her daughter in the United States.

A documentary film depicting five intimate portraits of migrants who fled their country of origin to seek refuge in France and find a space of freedom where they can fully experience their sexuality and their sexual identity: Giovanna, woman transgender of Colombian origin, Roman, Russian transgender man, Cate, Ugandan lesbian mother, Yi Chen, young Chinese gay man…

The star in Mad Mad Mad swords is a common man with numerous weaknesses and a complete worthless student of a prestigious school. To the suprise of all, however, he manages to defeat a string of renowned swordsmen, including the one-armed swordsman and the blind swordsman, by tricks and luck.

While his father lies sick in a hospital room, Albert and his family try to get on with their lives. Their world seems suddenly divided in two: what happens inside the hospital, and the universe outside.

The film is a continuous time-lapse with multiple exposures of the sunset from the same angle and position on 16mm film. The shoot was done in a span of 5 years. The title 13 is because the time-lapse has a 13-second interval per frame.

Recorded live at the New Haven Veteran's Coliseum in New Haven, Connecticut on 27 AUG 1986 and released on video the following year, Live Without a Net captures Van Halen during their 5150 tour.

Before the breakout of the Sino-Japanese War, Hong, Wang, and Peng were best friends. Hong and Wang secretly joined the local guerrillas after the Japanese began invading China. Hong ran a small business and Wang worked as a courier for a Japanese trading firm, hiding their true identities in order to collect intelligence on the Japanese for the Eight Route Army, and established a railway guerrilla unit. Wang soon found out that the trading firm he was working for was indeed an intelligence unit of the Japanese. They infiltrated the Japanese special forces and eliminated many Japanese. Suspicions arise from the Japanese as to the real identity of the individuals suspected of being part of the railway guerrilla forces, so called Flying Tigers unit, so the Japanese began to form a counter-spying operation and other under-handed means by recruiting Chinese traitors to uncover and eliminate them all.

In this affecting, provocative docudrama from Sean Devlin, a Filipino family reenacts their own experiences of resolutely rebuilding their homes and lives in the wake of the devastation wrought by 2013’s Hurricane Yolanda. Not helping matters are two ineffectual foreign aid workers (Kayla Lorette and Aaron Read) who aren’t quite the white saviours they fancy themselves to be.

The film delicately follows 25-year-old Anna, whose mother has died suddenly. She wants to send her Orthodox mother on her last journey according to customs, but she runs into bureaucratic rules that do not allow Anna to dress her departed mother herself. This conflict brings her together with Maria, a 45-year-old funeral home worker, who in this story represents the hidden fears of death and grief on a deep emotional level.

A weak before her lady-killer lover, a blond diva breaks up with the arrogant libertine to be with a kind friend. His ego demands appeasement, but the lethal revolver in her hand thirsts for retribution. Who is to blame for her downfall?