A disgraced naval officer and his jaded, bitter “baby sitter” is forced into transfer a detained sailor across state lines to be sentenced for an assault.
Re-make of Cafe Brawl (1897). It is the only version that has not been lost.
Caspar Stracke replicates Jill Godmilow's replica of Harun Faroci's film "Inextinguishable Fire."
After finding their father dead, to their dismay, his two sons discover that something in him is still alive, well, and standing tall: his erect penis. What should have been a day of somber mourning breaks into complete bedlam as the sons try, as discreetly as possible, to bend his organ before the funeral. In their quest to cover up the truth to save face, the brothers are forced to confront their own troubled relationship and deal with their late father's secret love life.
This sound film remake of The Goddess (1934) was headlined by Hu Die, who found stardom at the same time as Ruan Lingyu. Henry Lai Hang and Zhang Zhizhi reprised their roles from the earlier film. The first half of the story follows The Goddness but the second half references Bu Wanchang’s Love and Duty (1931) and King Vidor’s American film Stella Dallas (1937) with additional plots of the heroine’s post-prison story. After years of separation, she hesitates whether to reunite with her son. This new version poses a bigger challenge to a mother’s love and pushes towards the completion of her fate. The characters use dialogue to express their pain and connection, which strengthens the dramatic dilemma and makes the film more straightforward than its predecessor. Hu Die possesses a sort of allure that shows the sadness, shame, and will of a common woman from middle age to old age.
The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch.
CBI Officer Akram Sheikh is on the verge of nabbing three dreaded Pakistan-backed arms dealers, the brothers Ali and Abbas and their common moll Laila. When Sheikh busts an important arms deal conducted by his three targets, Ali-Abbas join forces with Gopal, a corrupt scientist to get hold of a deadly virus and take the tourists at the Elphinstone Jail resort as hostage. Akram Sheikh is now compelled to get help from Rachit, a criminal serving jail time who was a former associate of Ali-Abbas and the only person in history to have successfully escaped the Elphinstone jail . Along with a commando team, they try to pull off a rescue attempt by breaking in the jail and rescuing the hostages.
They're zero-budget, amateur, homemade, zany, creative, weird and often downright hilarious: a dozen "Sweded" versions of favorite films come together in The Sweded Film Festival for Creative Re-Creations. From mega-blockbusters to concert films, The Sweded Film Festival for Creative Re-Creations offers fan-made, five-minute versions of Die Hard, No Country for Old Men, Ferris Bueller's Day Off, The Lighthouse – even Stop Making Sense, among others. The Sweded Film Festival for Creative Re-Creations showcases the passion, humor, creativity and incredible ingenuity of film fans nationwide who won’t be deterred by a pandemic … and can't stop loving the movies.
Greek SOV remake of William Lustig's Maniac.
A look at the complex relationship between a mother and her dying daughter. A remake of the 1983 film TERMS OF ENDEARMENT.
1987 Indian Kannada film, directed by H. R. Bhargava and produced by S P Rajashekar.
A ragtag group of strangers barricade themselves in an old farmhouse to remain safe from a horde of flesh-eating ghouls. A re-imagining of the 1968 George A. Romero horror classic.
The girls are good friends at junior high school. Three of them seem to adjust and move forward upon entering high school, but the fourth of them is not having a seamless time of it. High school is not comfortable and the transition is full of memories, nostalgia and yearning. This is the story of a sixteen-year-old girl and also a camera. Kanazawa Shutter Girl picks up inspiration from the manga, and the subsequent movie, called Tokyo Shutter Girl and is helmed by one of its predecessor's's directors.
Anh Duong is a dynamic, modern and successful beauty blogger with thousands of followers. For a long time, she has planned for a perfect wedding that can bring happiness to her mother and fans. On the other hand, Nhat Minh is an unemployed, has-been pro gamer who lives off his younger brother's family. His sister-in-law always looks down on him and considers him an useless loser. Now, the only thing he does is playing online games. One day, Anh Duong and Nhat Minh' fates cross path: Anh Duong is diagnosed with brain cancer and Nhat Minh is diagnosed with spinal cancer. Abandoned by her fiancé after the news, Anh Duong desperately comes up with a plan and asks Nhat Minh, her former classmate in college, to be the fake groom for her dream wedding. In return, Nhat Minh will receive a hefty sum of money to support his brother's dream. With only three months left to live, two polar-opposite persons must come together to fight for their last wishes.
This is one of the rare gems in early Chinese musical films that still exists today. Nancy Chan plays a naïve young woman who can sing and dance. Under the arrangement of her stepfather, she becomes a star and indulges in the glitz and glamour of the entertainment world before getting married to a wealthy heir in Nanyang. Yet her husband is cruel and unfaithful, leading her to divorce and return to her parents in Shanghai. She is set for a comeback to the stage. Her young daughter suffers from a serious illness. A remake of the Bu Wanchang’s silent film The Light of Maternal Instinct (1933), this film takes cues from Hollywood musicals, resulting in an elegant and lively fusion of camera movement and musical numbers. The film also reflects the harsh reality of China in the 1930s and the pathos of popular literature by combining morals, entertainment and social commentary to show that changes in the idea of femininity is a symbol of progress.