Pray the Devil Back to Hell is the gripping account of a group of brave women who demanded peace for Liberia, a nation torn to shreds by a decades-long civil war. The women’s historic achievement finds its voice in a narrative that intersperses interviews, archival images, and scenes of present-day Liberia together to recount the memories of a few of the women who were there. In 2003, Liberia was a country devastated by decades of political dislocation, humanitarian crisis, and street-to-street urban warfare. Charles Taylor, then President of Liberia, had emptied the country’s pockets as creatively as any dictator in memory. His ascent to power led to the deaths of thousands of people and a nation in complete ruin. Out of the wreckage, more than 2000 Christian and Muslim women throughout the country began to organize and banded together in an effort to bring an end to the fighting. At great person risk, they protested creatively and persistently for peace in the worst days of brutal and protracted civil conflict. The Academy Award-nominated team Gini Reticker, Kate Taverna and Kirsten Johnson teamed up with Abigail E. Disney to produce this powerful documentary feature. (Source)
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A fragile, anxious boy, 12-year-old Oskar is regularly bullied by his stronger classmates but never strikes back. The lonely boy’s wish for a friend seems to come true when he meets Eli, also 12, who moves in next door to him with her father. A pale, serious young girl, she only comes out at night and doesn’t seem affected by the freezing temperatures. Coinciding with Eli’s arrival is a series of inexplicable disappearances and murders. One man is found tied to a tree, another frozen in the lake, a woman bitten in the neck. Blood seems to be the common denominator – and for an introverted boy like Oskar, who is fascinated by gruesome stories, it doesn’t take long before he figures out that Eli is a vampire. But by now a subtle romance has blossomed between Oskar and Eli, and she gives him the strength to fight back against his aggressors. Oskar becomes increasingly aware of the tragic, inhuman dimension of Eli’s plight, but cannot bring himself to forsake her. Frozen forever in a twelve-year-old’s body, with all the burgeoning feelings and confused emotions of a young adolescent, Eli knows that she can only continue to live if she keeps on moving. But when Oskar faces his darkest hour, Eli returns to defend him the only way she can… Swedish filmmaker Tomas Alfredson weaves friendship, rejection and loyalty into a disturbing and darkly atmospheric, yet poetic and unexpectedly tender tableau of adolescence. LET THE RIGHT ONE IN is based on the best-selling novel by John Ajvide Lindqvist. (
Andriy Krystiyan, or A K for short, has come to England from the Ukraine. A K is a philosopher (at least that’s what he claims to be), a poet, and an authority on all aspects of life. At the same time, he is following his grand plan to become an international star. Global stardom is how A K describes the goal that he and his band Gogol Bordello are pursuing with their particular brand of boisterous gypsy punk. For the time being, however, he makes ends meet by performing role play in women’s clothing for straightmarried men. A K shares a flat with two young women named Juliette and Holly. Juliette dreams of being a kind of Florence Nightingale of the developing world. She is currently working behind the counter at the local drug store run by Sardeep, the Indian chemist. Holly is a trained ballerina. Her big dream is todance with the Royal Ballet. So far she hasn’t been able to earn a single penny with her dancing, and continues to ‘polish’ her skills as a pole dancer at Beechman’s Exotic Gentleman’s Club. (
When a sudden plague of blindness devastates a city, a small group of the afflicted band together to triumphantly overcome the horrific conditions of their imposed quarantine. (
Léa (Elsa Zylberstein) and Juliette (Kristin Scott Thomas) are sisters. Juliette has just been released from prison after serving a long sentence. Léa was still a teenager when Juliette, a doctor, was convicted of the murder of her six-year-old son. Life together isn’t easy to begin with. Juliette has to relearn certain basics. The world has moved on and she often seems confused. Although she may seem cold and distant, her attitude stems more from her being ill at ease. Helped by some, such as the kindly but tactless social worker and her open-hearted but depressed parole officer (Frédéric Pierrot) whose confidante she becomes, Juliette is also rejected by others, particularly employers who throw her out as soon as they find out what she did. But a huge questions hangs over Juliette’s renaissance. Why did she do such a terrible thing fifteen years ago? For all the others, it’s a recurrent thought that they dare not put into words. And for Juliette, locked away in her secret, it’s a burden to bear, which holds her back from engaging in her life and believing that she too has the right to be happy. (
Hank and Mike are best friends–and Easter Bunnies! Hank likes to drink, swear and spend time with “ladies of the night”; Mike is a bundle of insecurities whose entire life is defined by his job. They have long held their positions at Easter Enterprises, a division of a multi-national corporation that owns all holidays. In an effort to increase profits, Hank and Mike are downsized, and the news hits them hard: No Easter Bunny has ever been fired! The strain on their friendship begins immediately as they are propelled into a bizarre downward spiral. As Mike longs for love with his long-time crush, Hank finally meets his match in a six year-old girl. With a little help from these unlikely ladies, and each other, Hank and Mike come to realize that there are things more important than their jobs. (
For 15 years, Juliette has had no ties with her family who had rejected her. Although life once violently separated them, Lea, her younger sister, takes her into her home which she shares with her husband Luc, his father, and their two daughters. (
One night at a bar, an old friend tells director Ari about a recurring nightmare in which he is chased by 26 vicious dogs. Every night the same number of beasts. The two men conclude that there is a connection between the dream and their Israeli Army mission in the first Lebanon War of the early eighties. Ari is surprised he can’t remember a thing anymore about that period of his life. Intrigued by this riddle, he decides to meet and interview old friends and comrades around the world. He needs to discover the truth about that time and about himself. As Ari delves deeper and deeper into the mystery, his memory begins to creep up in surreal images. (
Documents the filmmaker’s journey toward discovering the truth about an Israeli Army mission he participated in during the first Lebanon War of the early 1980s that left him with a loss of memory about the events. The long-forgotten images begin to resurface as the director interviews old friends and comrades around the world. (
A wildly inventive and visually dazzling collection of fearful tales by six of the world’s most renowned comic and graphic artists – Blutch, Charles Burns, Marie Caillou, Pierre Di Sciullo, Lorenzo Mattotti, and Richard McGuire. From a besotted student whose girlfriend is weirdly ardent in her affections, to a Japanese schoolgirl menaced by a long-dead samurai, and a pack of hounds on a bloodthirsty rampage, there’s a story strand to trouble every sleep — not to mention a stunning range of animation styles. Shot in shimmering black and white, the six intertwined tales create an unprecedented epic where phobias and nightmares come to life and reveal Fear at its most naked and intense. (