Emo Nemo

Mily

Yourneighbor

Sarah

Shaidrian Rios

Jimmy Beans

miCCwatreSSop

Julie Wynne - videos

Kapuster

Nicky Tallon

Harini Sen

Vastralaya

Galápagos takes the reader back one million years, to A.D. 1986. A simple vacation cruise suddenly becomes an evolutionary journey. Thanks to an apocalypse, a small group of survivors stranded on the Galápagos Islands are about to become the progenitors of a brave, new, and totally different human race. In this inimitable novel, America’s master satirist looks at our world and shows us all that is sadly, madly awry—and all that is worth saving.

One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind themIn ancient times the Rings of Power were crafted by the Elven-smiths, and Sauron, the Dark Lord, forged the One Ring, filling it with his own power so that he could rule all others. But the One Ring was taken from him, and though he sought it throughout Middle-earth, it remained lost to him. After many ages it fell by chance into the hands of the hobbit Bilbo Baggins.From Sauron's fastness in the Dark Tower of Mordor, his power spread far and wide. Sauron gathered all the Great Rings to him, but always he searched for the One Ring that would complete his dominion.When Bilbo reached his eleventy-first birthday he disappeared, bequeathing to his young cousin Frodo the Ruling Ring and a perilous quest: to journey across Middle-earth, deep into the shadow of the Dark Lord, and destroy the Ring by casting it into the Cracks of Doom.The Lord of the Rings tells of the great quest undertaken by Frodo and the Fellowship of the Ring: Gandalf the Wizard; the hobbits Merry, Pippin, and Sam; Gimli the Dwarf; Legolas the Elf; Boromir of Gondor; and a tall, mysterious stranger called Strider.

The Unnamable consists entirely of a disjointed monologue from the perspective of an unnamed (presumably unnamable) and immobile protagonist. There is no concrete plot or setting - and whether the other characters ("Mahood" (formerly "Basil") and "Worm") actually exist or whether they are facets of the narrator himself is debatable. The protagonist also claims authorship of the main characters in the two previous novels of the Trilogy and Beckett's earlier novels Murphy, Mercier and Camier, and Watt. The novel is a mix of recollections and existential musings on the part of its narrator, many of which pertain specifically to the possibility that the narrator is constructed by the language he speaks. Other 'characters' (a stretch to call them distinctly different than the narrator) serve as the passive recipient of the dialogue and in many places (as the narrator suggests) the dialogue's genesis. The novel builds in its despairing tone until the ending, which consists mainly of very long run-on sentences. It closes with the phrase "I can't go on, I'll go on," which was later used as the title of an anthology of Beckett works.The Unnamable is a 1953 novel by Samuel Beckett. It is the third and final entry in Beckett's "Trilogy" of novels, which begins with Molloy followed by Malone Dies. It was originally published in French as L'Innommable and later translated by the author into English. Grove Press published the English edition in 1958.

Rubáiyát of Omar Khayyám is the title that Edward FitzGerald gave to his 1859 translation from Persian to English of a selection of quatrains (rubāʿiyāt) attributed to Omar Khayyam (1048–1131), dubbed "the Astronomer-Poet of Persia".
FitzGerald's work at first was unsuccessful commercially. But it was popularised from 1861 onward by Whitley Stokes, and the work came to be greatly admired by the Pre-Raphaelites in England. In 1872 FitzGerald had a third edition printed, which increased interest in the work in the United States of America. By the 1880s, the book was extremely well known throughout the English-speaking world, to the extent that numerous "Omar Khayyam Clubs" were formed and there was a "fin de siècle cult of the Rubaiyat".
FitzGerald's work has been published in several hundred editions, and it has inspired similar translation efforts in English and in many other languages.

‭‭‎Omar Khayyam, Harold LambOmar Khayyam (18 May 1048 – 4 December 1131) was a Persian mathematician, astronomer, and poet. He was born in Nishapur, in northeastern Iran, and spent most of his life near the court of the Karakhanid and Seljuq rulers in the period which witnessed the First Crusade.Harold Albert Lamb (September 1, 1892 – April 9, 1962) was an American historian, screenwriter, short story writer, and novelist. Lamb wrote Omar Khayyam in 1934. Khayyam was famous during his life as a mathematician. His surviving mathematical works include: A commentary on the difficulties concerning the postulates of Euclid's Elements (Risāla fī šarḥ mā aškala min muṣādarāt kitāb Uqlīdis, completed in December 1077), On the division of a quadrant of a circle (Risālah fī qismah rub‘ al-dā’irah, undated but completed prior to the treatise on algebra), and On proofs for problems concerning Algebra (Maqāla fi l-jabr wa l-muqābala, most likely completed in 1079). He furthermore wrote a treatise on extracting the nth root of natural numbers, which has been lost. تاریخ نخستین خوانش: روز دوم ماه فوریه سال 1970 میلادیعنوان: عمر خیام؛ ت‍ال‍ی‍ف: هرول‍د ل‍م‍ب‌؛ مترجم: محمدعلی اسلامی ندوشن؛ مشخصات نشر: تهران، امیرکبیر، فرانکلین، 13؟؟، در 264 ص، موضوع: عمر ابن ابراهیم خیام؛ از 432 تا 517 هجری قمری - سده 11 مخیام: همه‌ چیز دان، فیلسوف، ریاضی‌دان، ستاره‌ شناس و رباعی‌ سرای ایرانی، در دوره ی سلجوقی بودند. گرچه پایگاه علمی خیام، برتر از جایگاه ادبی ایشان بوده است، ولی امروزه، آوازه ی ایشان، بیشتر به انگیزه ی رباعیآت ایشان است، که شهرت جهانی دارند. رباعیات خیام را، به بیشترِ زبان‌های زنده، برگردان نموده‌ اند، ادوارد فیتزجرالد رباعیات ایشان را به زبان انگلیسی برگردانده است، که مایه ی شهرت بیشتر وی در مغرب زمین نیز شده‌ است. روانشاد: صادق هدایت نیز، دو اثر درباره ی خیام، منتشر کرده‌ است: مقاله ی: «مقدمه‌ ای بر رباعیات خیام»، در سال 1303 خورشیدی، و کتاب: ترانه‌ های خیام، در سال 1313 خورشیدی. خیام نخستین کسی بودند که نشان دادند، معادلهٔ درجهٔ سوم، ممکن است دارای بیش از یک پاسخ باشد، یا اصلاً جوابی نداشته باشند. سخن درباره ایشان فرصتی میطلبد. یک رباعی خیام: هرگز دل من ز علم محروم نشد؛- کم ماند ز اسرار که معلوم نشد؛ هفتاد و دو سال فکر کردم شب و روز؛ - معلومم شد که هیچ معلوم نشد. خیاما. شربیانی

An alternative cover for this ISBN can be found hereOne day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.

The Dursleys were so mean and hideous that summer that all Harry Potter wanted was to get back to the Hogwarts School for Witchcraft and Wizardry. But just as he's packing his bags, Harry receives a warning from a strange, impish creature named Dobby who says that if Harry Potter returns to Hogwarts, disaster will strikeAnd strike it does. For in Harry's second year at Hogwarts, fresh torments and horrors arise, including an outrageously stuck-up new professor, Gilderoy Lockhart, a spirit named Moaning Myrtle who haunts the girls' bathroom, and the unwanted attentions of Ron Weasley's younger sister, Ginny.But each of these seem minor annoyances when the real trouble begins, and someone -- or something -- starts turning Hogwarts students to stone. Could it be Draco Malfoy, a more poisonous rival than ever? Could it possibly be Hagrid, whose mysterious past is finally told? Or could it be the one everyone at Hogwarts most suspects . . . Harry Potter himself?

The Metamorphosis and Other Stories, by Franz Kafka, is part of the Barnes &amp; Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes &amp; Noble Classics:All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes &amp; Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.Virtually unknown during his lifetime, Franz Kafka is now one of the world’s most widely read and discussed authors. His nightmarish novels and short stories have come to symbolize modern man’s anxiety and alienation in a bizarre, hostile, and dehumanized world. This vision is most fully realized in Kafka’s masterpiece, “The Metamorphosis,” a story that is both harrowing and amusing, and a landmark of modern literature. Bringing together some of Kafka’s finest work, this collection demonstrates the richness and variety of the author’s artistry. “The Judgment,” which Kafka considered to be his decisive breakthrough, and “The Stoker,” which became the first chapter of his novel Amerika, are here included. These two, along with “The Metamorphosis,” form a suite of stories Kafka referred to as “The Sons,” and they collectively present a devastating portrait of the modern family.Also included are “In the Penal Colony,” a story of a torture machine and its operators and victims, and “A Hunger Artist,” about the absurdity of an artist trying to communicate with a misunderstanding public. Kafka’s lucid, succinct writing chronicles the labyrinthine complexities, the futility-laden horror, and the stifling oppressiveness that permeate his vision of modern life.Jason Baker is a writer of short stories living in Brooklyn, New York.

On Truth and Lie in an Extra-Moral Sense") is an (initially) unpublished work of Friedrich Nietzsche written in 1873, one year after The Birth of Tragedy. It deals largely with epistemological questions of truth and language, including the formation of concepts. Every word immediately becomes a concept, inasmuch as it is not intended to serve as a reminder of the unique and wholly individualized original experience to which it owes its birth, but must at the same time fit innumerable, more or less similar cases-which means, strictly speaking, never equal-in other words, a lot of unequal cases. Every concept originates through our equating what is unequal. According to Paul F. Glenn, Nietzsche is arguing that "concepts are metaphors which do not correspond to reality." Although all concepts are human inventions (created by common agreement to facilitate ease of communication), human beings forget this fact after inventing them, and come to believe that they are "true" and do correspond to reality. Thus Nietzsche argues that "truth" is actually: A mobile army of metaphors, metonyms, and anthropomorphisms-in short, a sum of human relations which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins. These ideas about truth and its relation to human language have been particularly influential among postmodern theorists, and "On Truth and Lies in a Nonmoral Sense" is one of the works most responsible for Nietzsche's reputation (albeit a contentious one) as "the godfather of postmodernism.

Italian political thinker Paolo Virno argues that the category of multitude is a far better tool to analyze contemporary issues than the Hobbesian concept of people.Globalization is forcing us to rethink some of the categories--such as the people--that traditionally have been associated with the now eroding state. Italian political thinker Paolo Virno argues that the category of multitude, elaborated by Spinoza and for the most part left fallow since the seventeenth century, is a far better tool to analyze contemporary issues than the Hobbesian concept of people, favored by classical political philosophy. Hobbes, who detested the notion of multitude, defined it as shunning political unity, resisting authority, and never entering into lasting agreements. When they rebel against the state, Hobbes wrote, the citizens are the multitude against the people. But the multitude isn't just a negative notion, it is a rich concept that allows us to examine anew plural experiences and forms of nonrepresentative democracy. Drawing from philosophy of language, political economics, and ethics, Virno shows that being foreign, not-feeling-at-home-anywhere, is a condition that forces the multitude to place its trust in the intellect. In conclusion, Virno suggests that the metamorphosis of the social systems in the West during the last twenty years is leading to a paradoxical Communism of the Capital.

The ideas in this book are very similar to those Zizek began developing in The Sublime Object of Ideology, but because Looking Awry is less grounded in the complex interplay of Hegelian dialectics and Lacanian psychoanalysis, this is a somewhat more accessible read. Certainly Looking Awry tries to explicate Lacanian theory, but unlike the earlier book, Looking Awry is more focused on making Lacanian theory accessible than it is in restructuring major traditions of ideology.Part of what makes Looking Awry a more accessible book is that its analysis is grounded in film and literary studies, particularly through Hitchcock's films. Even if you don't actually know the film or story under discussion, Zizek is very good at explaining the relevant portions of the film or story in such a way that they illustrate his point. This is one of Zizek's particular strengths as a writer.

In this combative, controversial book, Terry Eagleton takes issue with the prejudice that Marxism is dead and done with. Taking ten of the most common objections to Marxism—that it leads to political tyranny, that it reduces everything to the economic, that it is a form of historical determinism, and so on—he demonstrates in each case what a woeful travesty of Marx's own thought these assumptions are. In a world in which capitalism has been shaken to its roots by some major crises, Why Marx Was Right is as urgent and timely as it is brave and candid. Written with Eagleton's familiar wit, humor, and clarity, it will attract an audience far beyond the confines of academia.

The three volumes of The Accursed Share address what Georges Bataille sees as the paradox of utility: namely, if being useful means serving a further end, then the ultimate end of utility can only be uselessness. In the second and third volumes, The History of Eroticism and Sovereignty, Bataille explores the same paradox of utility from an anthropological and an ethical perspective, respectively. The History of Eroticism analyzes the fears and fascination, the prohibitions and transgressions attached to the realm of eroticism as so many expressions of the "uselessness" of erotic life.

Philosopher, cultural critic, and agent provocateur Slavoj Žižek constructs a fascinating new framework to look at the forces of violence in our world.Using history, philosophy, books, movies, Lacanian psychiatry, and jokes, Slavoj Žižek examines the ways we perceive and misperceive violence. Drawing from his unique cultural vision, Žižek brings new light to the Paris riots of 2005; he questions the permissiveness of violence in philanthropy; in daring terms, he reflects on the powerful image and determination of contemporary terrorists.Violence, Žižek states, takes three forms--subjective (crime, terror), objective (racism, hate-speech, discrimination), and systemic (the catastrophic effects of economic and political systems)--and often one form of violence blunts our ability to see the others, raising complicated questions.Does the advent of capitalism and, indeed, civilization cause more violence than it prevents? Is there violence in the simple idea of "the neighbour"? And could the appropriate form of action against violence today simply be to contemplate, to think?Beginning with these and other equally contemplative questions, Žižek discusses the inherent violence of globalization, capitalism, fundamentalism, and language, in a work that will confirm his standing as one of our most erudite and incendiary modern thinkers.

Against Interpretation was Susan Sontag's first collection of essays and is a modern classic. Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

Love without risk is an impossibility, like war without death. Caught between consumerism and casual sexual encounters devoid of passion, love today - without the key ingredient of chance - is in mortal danger. Alain Badiou proposes a vision of love as an adventure of the individual.Liberal and libertine reductions of love to instant pleasure and non-commitment bite the dust as Badiou invokes a supporting cast of thinkers from Plato to Lacan via Karl Marx to create a new narrative of romance, relationships and sex - one that does not fear love.

This is a perfect example of the kind of writing characterised by Clive James as prose that ‘scorns the earth for fear of a puncture’. Foucault may be able to think – it's not easy to tell – but he certainly can't write.Everywhere there is an apparent desire to render a simple thought impenetrable. When he wants to suggest that the modern world has imposed on us a great variety in the ways we talk about sex, he must refer to ‘a regulated and polymorphous incitement to discourse’. When he advances the theory that the nineteenth century focused less on marriage than on other sexual practices, he talks about ‘a centrifugal movement with respect to heterosexual monogamy’. When there is only one of something he calls it ‘markedly unitary’.It almost becomes funny, except that it tells us something about how loosely his ideas are rooted in reality. Some people seem to think that complex prose must conceal a profundity of thought, but good readers and writers know that the reverse is usually the case. A thought which is impenetrable is not easily rebutted, and so it may only seem correct by default.For example, Foucault has the following idea: that talking more about sex is really an attempt to get rid of any sexual activity that isn't focused on having children. It wouldn't be hard to pick holes in that argument, partly because it uses terms we all immediately understand and which we can very quickly relate to reality. But Foucault puts the theory like this:For was this transformation of sex into discourse not governed by the endeavour to expel from reality the forms of sexuality that were not amenable to the strict economy of reproduction [...]?And you'll see from the square brackets that I've left half the sentence out! Here the argument is harder to refute, not because it's any stronger, but because it takes some effort to work out what the fucking hell the man is talking about.Where he cannot think of a roundabout way of saying something, Foucault instead opts for words which might at least slow his readers down a bit, like erethism. And if no suitably obscure word is at hand, he simply makes one up, so we get a lot of these ugly formations which the postmodernists seem to love, such as discursivity, genitality, or pedagogization.Here I should point out that from what I can tell, all of this complexity exists in the original French, and is not simply a fault in the translator (Robert Hurley, in my edition). In fact sometimes Rob helps us out a bit, such as when he translates the typical Foucaultism étatisation as the more helpful phrase ‘unrestricted state control’. But there's only so much he can do. If he'd put all of Foucault's prose into natural English the book would be a quarter of the size.On the few occasions when Foucault does deign to explain himself, he only makes matters worse. After several pages in which he makes much confusing use of the word ‘power’, he finally defines this vague term as the multiplicity of force relations immanent in the sphere in which they operate and which constitute their own organization; as the process which, through ceaseless struggles and confrontations, transforms, strengthens, or reverses them; as the support which these force relations find in one another, thus forming a chain or a system, or on the contrary, the disjunctions and contradictions which isolate them from one another; and lastly, as the strategies in which they take effect, whose general design or institutional crystallization is embodied in the state apparatus, in the formulation of the law, in the various social hegemonies.My point is not that Foucault makes the reader do unnecessary work, although that's certainly an inexcusable flaw in anyone who wants their view to be taken seriously: a reader should be working to engage with an argument, not having to rewrite the whole damn thing in his head as he goes along. No, my point is that Foucault not only confuses the reader, he confuses himself. Having decided, as a mathematician decides that x equals four, that ‘power’ equals a whole range of ‘force relations’, he then combines it with other comparably dense terms and juggles them around and puts them together until you have to at least suspect that the underlying reality has been lost to Foucault as well as to us.Evidence of his own confusion therefore seems built into the texture of his sentences. He calls the family unit, for instance, ‘a complicated network, saturated with multiple, fragmentary, and mobile sexualities’. The idea of multiple sexualities is fairly clear: an assertion that, for example, homosexuality and paedophilia play their part in family life along with heterosexuality. He offers no evidence for it, but at least it is a proposition we can examine. But what about fragmentary sexualities? What on earth is a fragmentary sexuality? Perhaps one which is in some way both hetero and homo? How does a fragmentary sexuality manifest itself in terms of behaviour or desire? There are no answers. And then we also have the ‘mobile sexualities’, which sounds like some kind of wonderful bus service but which presumably we are meant to understand as sexual feelings that keep changing. To deal with any one of these ideas is problematic. To deal simultaneously with all three, and then to imagine such concepts ‘saturating’ a ‘network’, is just not a serious argument – it's a huge act of intellectual masturbation.Anyone can play this game. The opposing view to Foucault's is the traditional idea that the Victorians were frightened and offended by their sexual feelings, and that consequently their society worked to repress sex. But if we wanted to protect the argument from attack we could easily rephrase it and say that the dominant narrative of Victorian social constructs was characterised by a repressive power projection whose motus was the twin stimuli of (psycho)logical terror and physiological disgust. This is harder to argue against, because it has less meaning. Similarly many of Foucault's arguments are, to paraphrase Wolfgang Pauli, so badly expressed that not only are they not right, they're not even wrong.

The Parallax View is Slavoj Zizek's most substantial theoretical work to appear in many years; Zizek himself describes it as his magnum opus. Parallax can be defined as the apparent displacement of an object, caused by a change in observational position. Zizek is interested in the "parallax gap" separating two points between which no synthesis or mediation is possible, linked by an "impossible short circuit" of levels that can never meet. From this consideration of parallax, Zizek begins a rehabilitation of dialectical materialism.Modes of parallax can be seen in different domains of today's theory, from the wave-particle duality in quantum physics to the parallax of the unconscious in Freudian psychoanalysis between interpretations of the formation of the unconscious and theories of drives. In The Parallax View, Zizek, with his usual astonishing erudition, focuses on three main modes of parallax: the ontological difference, the ultimate parallax that conditions our very access to reality; the scientific parallax, the irreducible gap between the phenomenal experience of reality and its scientific explanation, which reaches its apogee in today's brain sciences (according to which "nobody is home" in the skull, just stacks of brain meat--a condition Zizek calls "the unbearable lightness of being no one"); and the political parallax, the social antagonism that allows for no common ground. Between his discussions of these three modes, Zizek offers interludes that deal with more specific topics--including an ethical act in a novel by Henry James and anti-anti-Semitism.The Parallax View not only expands Zizek's Lacanian-Hegelian approach to new domains (notably cognitive brain sciences) but also provides the systematic exposition of the conceptual framework that underlies his entire work. Philosophical and theological analysis, detailed readings of literature, cinema, and music coexist with lively anecdotes and obscene jokes. This is Zizek at the height of his powers, both as a writer and a thinker.

The Medium is the Massage is Marshall McLuhan's most condensed, and perhaps most effective, presentation of his ideas. Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

After John Nash, a brilliant but asocial mathematician, accepts secret work in cryptography, his life takes a turn for the nightmarish.

In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same.

A married couple are faced with a difficult decision - to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer's disease.

A precocious and outspoken Iranian girl grows up during the Islamic Revolution.

2007 animated film by Marjane Satrapi and Vincent Paronnaud

After graduating from Emory University, top student and athlete Christopher McCandless abandons his possessions, gives his entire $24,000 savings account to charity and hitchhikes to Alaska to live in the wilderness. Along the way, C

2007 film by Sean Penn based on the travels of Christopher McCandless

Guy Debord's cinematic analysis of consumer society based on his influential book "La société du spectacle" (1967).

A young anthropomorphic cat goes on a psychedelic journey with his sister in order to save her soul.

In a funny looking yet very bleak world, a boy learns to play piano while a cat and various other animal characters encounter all sorts of drugs, sex, violence and profanity, with numerous references to pop culture phenomena.

A woman in her sixties, after losing everything in the Great Recession, embarks on a journey through the American West, living as a van-dwelling modern-day nomad.

1930's Hollywood is reevaluated through the eyes of scathing social critic and alcoholic screenwriter Herman J. Mankiewicz as he races to finish the screenplay of Citizen Kane (1941).

This documentary uses news footage and amateur video to paint a vivid picture of Romania's 1989 revolution and the fall of dictator Nicolae Ceausescu.

A woman narrates the contemplative writings of a seasoned world traveler, focusing on contemporary Japan.

A former Roman General sets out to exact vengeance against the corrupt emperor who murdered his family and sent him into slavery.

Born on the original Christmas in the stable next door to Jesus Christ, Brian of Nazareth spends his life being mistaken for a messiah.

1979 British comedy film directed by Terry Jones

The comedy team takes a look at life in all of its stages in their own uniquely silly way.

1983 musical-sketch comedy film by the Monty Python team

King Arthur and his Knights of the Round Table embark on a surreal, low-budget search for the Holy Grail, encountering many, very silly obstacles.

In the Russian wilderness, two brothers face a range of new, conflicting emotions when their father - a man they know only through a single photograph - resurfaces.

2003 Russian drama film directed by Andrey Zvyagintsev

Three handicapped losers who form a band ask famous writer Dries to be their drummer. He joins the band and starts manipulating them.

Dance moves, music and fashion mark the passage of time inside a Paris dance hall, throughout fifty years of history.

Two men are framed and sent to jail, where they meet a murderer who helps them escape and leave the state.

German composer and conductor (1813-1883)

German composer and musician of the Baroque era

Norwegian composer and pianist (1843-1907)

Two friends facing self-made problems where they try to solve them by using anything impossible and possible and their solutions lead to more problems, at the end the "problem" is fixed and finish off with their distinctive handshake

Czechoslovakian, later Czech, television series

The continuing animated adventures of Olive Oyl, Wimpy, Swee'pea and Popeye.

It is about a cat who's chasing a mouse ...

The comic misadventures of a tidy, refined Cat and a goofy, uncouth Dog joined at the abdomen.

American animated comedy television series

A classy, resourceful panther has plenty of hilarious misadventures, outwitting those who annoy him with his clever tricks.

The satiric adventures of a working-class family in the misfit city of Springfield.

American animated sitcom created by Matt Groening

Follows the misadventures of four irreverent grade-schoolers in the quiet, dysfunctional town of South Park, Colorado.

In a wacky Rhode Island town, a dysfunctional family strive to cope with everyday life as they are thrown from one crazy scenario to another.

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