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The FantastiX, masters of illusion, mentalism, hypnosis, circus and magic, perform on stage and transmit their knowledge to artists who will blow everyone’s mind with their impressive magic numbers.
Haiti, a lonely forgotten black island abandoned to its poverty and misery. A white woman, Madame lives in a fantasy in which she helps to teach, inspire and feed the retched masses of the world. She is in fact completely cut off from them – a continent away. The awakening of desire between Madame and her black servant boy, Patrick, will lead her from her isolation out into the real Haiti, where she will for the first time see and hear the land and its people, discover the reality of her own body, her identity and come face to face with her own mortality.
Danielle (Bernadette Lafont), a grandmother in her sixties, is planning to take her two grandchildren to their father’s house for the Easter vacation. Since retiring as a schoolteacher, Danielle has regularly taken on this responsibility after her daughter’s divorce. This time, however, the children’s father is not there to welcome them, giving Danielle the opportunity to spend a bit more time with her grandchildren and to take them out for the day. Jumping at every opportunity presented to them, Danielle soon transforms this day-outing into an impromptu holiday. Only what starts out as a fun adventure gradually turns into an inexorable deconstructing experience, and it soon becomes impossible for Danielle to contemplate taking the kids back…
When director Louis is murdered by a mystery member of his cast mere moments before the show starts, it’s up to Leo, the cast and audience alike to solve the identity of the Stage Stalker before they claim anymore victims.
The story is about how Sophia fake marries a billionaire Harrison who hides his true identity, but ends up falling in love with him over time.
Traversing through Sydney’s music scene is Liam Whelan, and it is clear that he has a strong passion for performing. However the audience sharing this same passion and enthusiasm for live music is never guaranteed, and the monetary incentive can often times be very low. It can also be disheartening to have to perform cover songs to keep the audience's attention when you have a range of your own music that you would also like to perform. But does this affect him enough to stop doing what he loves? Is the pursuit to be creative and write and perform music worth it when the rewards can be so small? Do the high points of sharing music with a passionate audience outweigh the lows of performing to a pub of disinterested patrons?
