An ordinary office worker, Nitta, has been in luck recently. One day, a stranger comes to his office and says that he’s the guarantor of his elder brother’s debt. Now he’s bewildered with a sudden debt of 80 million yen, but the man tells him that the debt would be eliminated if he becomes someone’s friend. A meeting place is arranged and he soon encounters a young lady, Kanoko. As she innocently takes him around, Nitta wonders about the situation, but they end up having sex on that first day. But he quickly comes to know how his life will totally change
The way Jeannette has to deal with child neglect makes her insecure about her parents and how she was brought up and raised in the United States. This continues into adulthood, where Jeannette becomes a successful journalist and is frequently asked about her parents by others.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
'También la Iluvia' exploits Indigenous peoples' fight against the privatization of water in order to tell a story about Spanish characters.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
The newest Pedro Almodóvar movie, Pain and Glory, focuses on an aging and debilitated filmmaker, Salvador Mallo (played by Antonio Banderas) reflecting on his life in his old age.
