The story follows Ji-young, a young woman in her early twenties who is running away from a childhood history of sexual assault by her stepfather. Struggling to get by, she hangs out with friends and falls into conditional dating setups. However, her unresolved past trauma makes intimacy difficult. During these encounters, she frequently steals money from the men while they are showering and flees. When she eventually finds herself trapped in a dangerous situation she cannot easily escape, her friend Jun-hyeok steps in to help her.

The narrative follows Ryuji Hanashiro (played by Shōji Kaneko), a mid-level yakuza boss who generates decent cash for his small criminal crew. However, growing weary of the dangerous, exhausting daily grind and wanting a peaceful life with his wife Mariko and young daughter Aya, he decides to go straight.

The story follows Kiyoshi Koike (played by Tsunehiko Watase), a pathetic, short-fused street vendor who ekes out a meager living selling rabbits. He regularly squanders his money on gambling and drinking. Desperate for status and luxury, Kiyoshi gets picked up by a yakuza gang to serve as their "bullet" – a sacrificial patsy sent into rival territory to cause chaos and trigger an excuse for a full-scale violent incursion. Suddenly outfitted with a flashy suit, a gun, and cash, he acts like a king, completely oblivious to his own impending doom.

When corporate executives are blackmailed into public displays of nudity on the busy streets of Shinjuku, the big guns are called out to locate "Oboreru Sakana". The "big guns" are a misfit duo of ethically questionable characters who must infiltrate a gay nightclub and "fit in" while they search for clues. What ensues is both hilarious and action-packed. Oboreru Sakana is a rather ambitious and often hilarious contemporary crime thriller. Its narrative swings from the grisly to the humorous and pulls in as many pop culture elements as it can manage.

When a struggling high school student is confronted with the painful fracture of her family, she seeks refuge far from the noise of her parents’ world. In the company of her grandmother and an old friend, she begins to see life from a distance–-both tender and selfless. Her lessons and realizations are things that cannot be learned from books, but only from a life lived.

In a revelatory performance, Ally Sheedy stars in writer-director Lisa Cholodenko’s debut feature, a wry and incisive look at the politics of the New York art scene wrapped in the guise of an emotionally spiky queer romance. When Lucy Berliner (Sheedy), a once prominent photographer who has retreated into a life of heroin abuse with her faded-actress lover (Patricia Clarkson), is rediscovered by Syd (Radha Mitchell), an up-and-coming editor at a photography magazine, professional ambition and personal attraction become dangerously entwined. Stripping away art-world glamour to tell a seductive yet troubling story of complicated human connection, High Art stands as an essential work of both queer and 1990s independent cinema.

'Gloria' follows Gloria Swenson (Sharon Stone), a streetwise and cynical mob moll who is released from a three-year prison sentence after taking the fall for her gangster boyfriend, Kevin (Jeremy Northam). When Kevin refuses to give her the payout she was promised, Gloria's path crosses with Nicky (Jean-Luke Figueroa), a stubborn seven-year-old boy whose family was gunned down by Kevin's syndicate for possessing a computer disk containing incriminating evidence against the entire organization. Driven by an unexpected protective instinct, Gloria impulsively rescues Nicky and steals the disk, forcing the unlikely duo into a high-stakes, dangerous game of cat-and-mouse across New York City as they run from both the mob and the police.

Set in the West of the 1890s, the film opens with the torture and murder of the parents of Max Sand by a trio of gunslingers seemingly motivated by their hostility toward the mixed nature of the marriage, since the wife is a Native American. Swearing revenge, the young cowhand enlists the help of itinerant gunsmith Jonas Cord, who teaches him how to shoot while counseling against revenge. Nonetheless, Sand doggedly scours one town after the other.

What's even better than Sloppy Seconds? Feast III: The Happy Finish marks the return of the original film's writers/director and the third course in this blood-gushing, mutant-thrashing, stomach-churning comic horror series. The man-eating monsters are still hungry, and what's left of the human survivors - including Biker Queen, Bartender, and Lightning the wrestler - are running out of luck. That is until hope arrives in the form of a knife-wielding karate kid and a mysterious man who seems to be able to control the beasts. Loaded with horrors that will haunt your dreams, Feast III: The Happy Finish is non-stop, gross-out action with the mother of all endings!

'Feast II: Sloppy SEeconds' is a rip-roaring splatter-fest of a sequel that, much like its predecessor, proudly wears its hardcore horror nature on its sleeve. When characters with names like Biker Queen, Tat Girl, Puker, and Bartender congregate in a desolate little town in the middle of nowhere and again find themselves at odds with a clan of vicious and horny monsters, it's obvious a grand old time is in store for anyone who dares watch. Director John Gulager continues the mayhem right where the first one left off as the survivors of the bar incident make their way to the nearest small town only to realize the creatures had the same idea. This tense, darkly comic franchise simultaneously tweaks, parodies, and embraces gory traditions with twisted glee.

A ragtag group of strangers trapped inside a remote Nevada desert bar must band together to survive a sudden, brutal onslaught by a family of ravenous, fast-moving, flesh-eating monsters. After a heavily armed man bursts into the tavern warning of the approaching danger – only to be instantly decapitated – the eccentric patrons, including a cynical bartender, a motivational coach, and a resilient waitress, are forced to barricade the building. As the grotesque creatures relentlessly breach the defenses and rapidly slaughter the group one by one, the survivors must rely on pure instinct, dark humor, and makeshift weapons to outlast a night of chaotic, over-the-top carnage.

New Year's Eve 1999. Returning home to Gallifrey with the remains the Master, the TARDIS is forced off course, plunging the Doctor into the middle of a San Fransisco gun battle. Critically wounded, the Doctor has to regenerate to save his own life. But the Master too has a new body with which to wreak havoc, and his ultimate goal is to take the Doctor's own existence

Playboy presents Britain's most shagable Babes - in and out of their knickers. Find out what the groovy girls across the pond are really like… and what turns them on. Get hip and get set for an erotic invasion of Britain's most stunning and least bashful beauties. It's mojo mania.

Otakar Vávra's Witchhammer, co-written by Ester Krumbachová (Daisies, Fruit of Paradise) from Václav Kaplický’s 1963 novel, chronicles the series of notorious 17th Century Czech witch trials, undertaken using the infamous ‘Malleus Maleficarum’ (the ‘Witchhammer’ of the title), the Catholic treatise on witchcraft which endorses the extermination of witches and developed a detailed legal and theological theory for this purpose. Using genuine court transcripts from the forced confessions of those accused of sorcery and collusion with the Devil, it is a powerful and often shocking allegory of life under totalitarian rule.

The White Dove follows Susanne, a young girl recovering from an illness on the Baltic coast, whose prized white homing pigeon loses its way during a storm and ends up trapped in a bleak Prague apartment block. There, the lost bird is discovered by Michal, a bitter boy confined to a wheelchair, who wants to keep it trapped, and his neighbor, a kindly artist who recognizes the bird's plight and tries to coax Michal into letting it go. As Michal cares for the bird, its presence sparks a profound emotional transformation within him, leading to a poetic, allegorical climax where he chooses to release the dove so it can fly back to Susanne, symbolizing his own spiritual liberation and newfound hope.