Many years ago Mr. Six was a notorious gangster. That was back when there was still such a thing as honour among thieves, when criminals earned respect and maintained principles. These days Mr. Six is all but forgotten, a living relic residing in a narrow alley. One day Six’s son, Xiaobo, is abducted by some spoiled punks after he scratches their precious Ferrari. Mr. Six realizes that he must do whatever it takes to get his son back — even if that means returning to the life he thought he had left behind.

Pierre is seventeen and in the middle of puberty. He plays in a band, has sex at parties and secretly tries on women’s clothing and lipstick in front of a mirror. Ever since his father’s death, his mother Aracy has looked after him and his younger sister Jacqueline, spoiling them both. But when he discovers that she stole him from a hospital when he was a new born baby, Pierre’s life changes dramatically. In her new film, director Anna Muylaert explores the mother-child relationship through the eyes of a rebellious son whose whole world unravels overnight.

The film is a sequel to Tanu Weds Manu (2011), in which stars Kangana Ranaut (Tanu) and R. Madhavan (Manu) reprise their roles from the original. Tanu and Manu’s marriage collapses. What happens when Manu meets Tanu’s lookalike Kusum – and when Tanu returns? Kangana Ranaut also portrays the additional role of a Haryanvi athlete Kusum in the film.

Private eye Roland Drake cracks cases and romances femme fatales in 1940’s Los Angeles while corrupt cop Det Barry Tate rules the city. A tale told in the classic style of film noir. Drake has fallen on hard times in a harsh world. He has been evicted from his office and disgraced by a missing persons case. Ruined in the public eye and with the police. it seems like it’s all over for Roland Drake. Then, redemption walks in – with curves. The owner of those curves is a sexy, dark haired beauty named Katherine Montemar. She wants his help. The chemistry is immediate and her concern for the disappearance of her family members pulls him into her case – and into bed.

Several players from different backgrounds try to cope with the pressures of playing football at a major university. Each deals with the pressure differently, some turn to drinking, others to drugs, and some to studying.

A troubled woman on the edge of divorce returns home to her younger sister after years apart. But when her sister and brother-in-law betray her trust, she embarks on a vicious crusade of revenge.

Tony is admitted to a rehabilitation center after a serious ski accident. Dependent on the medical staff and pain relievers, she takes time to look back on a turbulent relationship that she experienced with Georgio.

A killer decides to settle down in a small town and start a family. But first she has to find the right guy to help make it happen, whether he wants to or not.

“The Sum of Us” is an Aussie story about a father and a son both searching for love and sharing an unconventional bond. Harry, the father, is the caring and open-minded “mate” that borders on annoyance. His son Jeff unsuccessfully searches for love, with the unwanted guidance of his father.

If a man trespass against you, rebuke him. If he repents, then forgive him.

Brandon Beckett (Collins), the son of the previous Sniper film’s star Thomas Beckett (Tom Berenger), takes up the mantle set by his father and goes on a mission of his own.

Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.