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Gertrude Bell, the most powerful woman in the British Empire in her day, shaped the destiny of Iraq after WWI in ways that still reverberate today.
Henry, an English writer who has written a new book that has become a failure in the U.K, gets notified that the dull book has been highly trending over in Mexico. Little does he know that Maria, a Spanish translator, turned the book into an erotic novel. Henry and Maria then swerve around Mexico to do a book tour and go through a wind of events.
At a pivotal moment in her singing career, Rocío discovers that her mother is ill and that her final wish is to meet with her again before she dies. After evading the past for 10 years, Rocío returns to her hometown from where she was once expelled. When confronting her family, she comes to understand that forgiveness is the key that will allow her to realize her full potential.
A middle-aged, poor lady who has never flown before embarks on a fantastic journey when a normal subway ride turns into an air ride with check-in.
In 1999, filmmakers Joe Brewster and Michèle Stephenson turned the camera on themselves and began filming their five-year-old son, Idris, and his best friend, Seun, as they started kindergarten at the prestigious Dalton School just as the private institution was committing to diversify its student body. Their cameras continued to follow both families for another 12 years as the paths of the two boys diverged—one continued private school while the other pursued a very different route through the public education system.
Who Am I To Stop (WAITSI) is a semi-observational exploration of isolation, art, and transformation after traumatic brain injury. We follow a young, mixed-race woman, a young, white man, and a middle-aged, white woman from the Pacific Northwest with brain injury. Despite vastly different experiences, all are beginning to test the waters of public performance and re-define a new life path as artists. Rather than define brain injury survivors by their deficits and limit their narratives to crash and recovery stories, we allow them to examine their lives, struggles, triumphs, self-doubt, goals, and personal agency. The film reveals art-making not as rehabilitation but a way to reconnect to a sense of purpose and pride, to protest disability stigma and social isolation, and to contribute to society. Brain injury survivors are not individuals on a private journey of healing; they are rooted in society, one that is often inaccessible and not understanding or accommodating.
The Narrator (Canek Denis) finds himself with a once-in-a-lifetime opportunity to change his precarious lifestyle for a brand new life of never-ending lust and limitless power. But the price to pay is too high. He must surrender that which represents everything he has been up to that moment, that which defines him as a person: his ideas. He now must make a choice that will scar him for the rest of his life, much like a stain that simply cannot be removed.
