Tom Ripley – cool, urbane, wealthy, and murderous – lives in a villa in the Veneto with Luisa, his harpsichord-playing girlfriend. A former business associate from Berlin’s underworld pays a call asking Ripley’s help in killing a rival. Ripley – ever a student of human nature – initiates a game to turn a mild and innocent local picture framer into a hit man. The artisan, Jonathan Trevanny, who’s dying of cancer, has a wife, young son, and little to leave them. If Ripley draws Jonathan into the game, can Ripley maintain control? Does it stop at one killing? What if Ripley develops a conscience?

Mato Grosso do Sul, Brazil, the present. When a young Guarani-Kaiowá woman commits suicide, Nádio leads his community to form a protest camp on the borders of a local farm that sits on their ancestral burial ground.

We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.

The last few years in the life of Armida Miserere, female jail director who committed suicide

In this loose adaptation of Shakespeare’s “Henry IV,” Mike Waters (River Phoenix) is a gay hustler afflicted with narcolepsy. Scott Favor (Keanu Reeves) is the rebellious son of a mayor. Together, the two travel from Portland, Oregon to Idaho and finally to the coast of Italy in a quest to find Mike’s estranged mother. Along the way they turn tricks for money and drugs, eventually attracting the attention of a wealthy benefactor and sexual deviant.