Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

Forty-two stories make up this magisterial collection by the writer who stands at the pinnacle of modern American fiction. Compressing an epic expanse of vision into hard and wounding narratives, Faulkner’s stories evoke the intimate textures of place, the deep strata of history and legend, and all the fear, brutality, and tenderness of the human condition. These tales are set not only in Yoknapatawpha County, but in Beverly Hills and in France during World War I. They are populated by such characters as the Faulknerian archetypes Flem Snopes and Quentin Compson, as well as by ordinary men and women who emerge so sharply and indelibly in these pages that they dwarf the protagonists of most novels.

A pioneer in queer theory and literary studies, Eve Kosofsky Sedgwick brings together for the first time in Touching Feeling her most powerful explorations of emotion and expression. In essays that show how her groundbreaking work in queer theory has developed into a deep interest in affect, Sedgwick offers what she calls "tools and techniques for nondualistic thought," in the process touching and transforming such theoretical discourses as psychoanalysis, speech-act theory, Western Buddhism, and the Foucauldian "hermeneutics of suspicion." In prose sometimes somber, often high-spirited, and always accessible and moving, Touching Feeling interrogates—through virtuoso readings of works by Henry James, J. L. Austin, Judith Butler, the psychologist Silvan Tomkins and others—emotion in many forms. What links the work of teaching to the experience of illness? How can shame become an engine for queer politics, performance, and pleasure? Is sexuality more like an affect or a drive? Is paranoia the only realistic epistemology for modern intellectuals? Ultimately, Sedgwick's unfashionable commitment to the truth of happiness propels a book as open-hearted as it is intellectually daring.

In his journal, Nobel Prize winner John Steinbeck called East of Eden “the first book,” and indeed it has the primordial power and simplicity of myth. Set in the rich farmland of California’s Salinas Valley, this sprawling and often brutal novel follows the intertwined destinies of two families—the Trasks and the Hamiltons—whose generations helplessly reenact the fall of Adam and Eve and the poisonous rivalry of Cain and Abel.Adam Trask came to California from the East to farm and raise his family on the new rich land. But the birth of his twins, Cal and Aaron, brings his wife to the brink of madness, and Adam is left alone to raise his boys to manhood. One boy thrives nurtured by the love of all those around him; the other grows up in loneliness enveloped by a mysterious darkness.First published in 1952, East of Eden is the work in which Steinbeck created his most mesmerizing characters and explored his most enduring themes: the mystery of identity, the inexplicability of love, and the murderous consequences of love's absence. A masterpiece of Steinbeck's later years, East of Eden is a powerful and vastly ambitious novel that is at once a family saga and a modern retelling of the Book of Genesis.--jacket flap

Life is full of missed opportunities and hard decisions. Sometimes it’s difficult to know what to actually do.  Dubliners  creates an image of an ever movie city, of an ever moving exchange of people who experience the reality of life. And that’s the whole point: realism. Not everything goes well, not everything is perfectly constructed. Life is random and unpredictable. If we’re not careful it may escape from us entirely. There are two types of stories in  Dubliners. The first, and by far the most effective, are those associated with despair, nihilism and death. The second type deals with more ordinary aspects of modern life, the representation of the city and social exchanges. As a collection they provide an image of dark, murky city struggling to cope with the problems associated with rapid urbanisation. The stories do not intertwine, but you are left with the impression that they are not that far from each other: their proximity feels close as you read further into each one. The true mastery of Joyce’s writing reveals itself in what he doesn’t say, the subtle suggestions, the lingering questions, as each story closes without any sense of full resolution. And, again, is this not true of real life? In narrative tradition there is a structured beginning, middle and end, but in the reality of existence it doesn’t quite work this way. Life carries on. It doesn’t have a form of narrative closure, a convenient wrapping up of plot, after each wound we take in life. It carries on. We carry on. And for the Dubliners isolation carries on. \
  “He could not feel her near him in the darkness nor hear her voice touch his ear. He waited for some minutes listening. He could hear nothing: the night was perfectly silent. He listened again: perfectly silent. He felt that he was alone.” \


American writer and journalist (1925-2009)

Only Georges Bataille could write, of an eyeball removed from a corpse, that "the caress of the eye over the skin is so utterly, so extraordinarily gentle, and the sensation is so bizarre that it has something of a rooster's horrible crowing." Bataille has been called a "metaphysician of evil," specializing in blasphemy, profanation, and horror.Story of the Eye, written in 1928, is his best-known work; it is unashamedly surrealistic, both disgusting and fascinating, and packed with seemingly endless violations. It's something of an underground classic, rediscovered by each new generation. Most recently, the Icelandic pop singer Björk Guðdmundsdóttir cites Story of the Eye as a major inspiration: she made a music video that alludes to Bataille's erotic uses of eggs, and she plans to read an excerpt for an album.Warning: Story of the Eye is graphically sexual, and is only suited for adults who are not easily offended.

Nietzsche called The Gay Science "the most personal of all my books." It was here that he first proclaimed the death of God -- to which a large part of the book is devoted -- and his doctrine of the eternal recurrence.Walter Kaufmann's commentary, with its many quotations from previously untranslated letters, brings to life Nietzsche as a human being and illuminates his philosophy. The book contains some of Nietzsche's most sustained discussions of art and morality, knowledge and truth, the intellectual conscience and the origin of logic.Most of the book was written just before Thus Spoke Zarathustra, the last part five years later, after Beyond Good and Evil. We encounter Zarathustra in these pages as well as many of Nietzsche's most interesting philosophical ideas and the largest collection of his own poetry that he himself ever published.Walter Kaufmann's English versions of Nietzsche represent one of the major translation enterprises of our time. He is the first philosopher to have translated Nietzsche's major works, and never before has a single translator given us so much of Nietzsche.

April, 1984. Winston Smith, thinks a thought, starts a diary, and falls in love. But Big Brother is watching him, and the door to Room 101 can swing open in the blink of an eye. Its ideas have become our ideas, and Orwell’s fiction is often said to be our reality. The definitive book of the 20th century is re-examined in a radical new adaptation exploring why Orwell’s vision of the future is as relevant as ever."This is a staging that reconsiders a classic with such steely power that it chills brain, blood and bone." - The Times"[A] pitilessly brilliant retelling." - Guardian"This risk-taking adaptation of George Orwell's masterpiece is doubleplusgood." - Telegraph"A theatrical tour de force that has the destructive power of an earthquake." - The Stage"Skilfully brought to life.... This is a very neat theatrical telling of the classic dystopian parable which is more a study of internal tension and tiny acts of defiance as it is a political drama... a work of extraordinary quality and intensity." - IndependentEric Arthur Blair (25 June 1903 – 21 January 1950), better known by his pen name George Orwell, was an English novelist and journalist, whose most famous works include the novella Animal Farm, and the classic dystopia 1984.Duncan Macmillan is an award-winning writer and director. Plays include: Lungs (Paines Plough/Sheffield Crucible and Studio Theatre Washington D.C.), Platform (Old Vic Tunnels), Monster (Royal Exchange/Manchester International Festival), The Most Humane Way to Kill A Lobster (Theatre 503), I Wish To Apologise For My Part In The Apocalypse, So Say All of Us and Family Tree (all BBC Radio 4).Robert Icke was artistic director of the Arden Theatre Company in Stockton-on-Tees from 2003–7 and of the Swan Theatre Company in Cambridge from 2005–8, where he was awarded the Susie Gautier-Smith Prize for his contribution to theatre.

This is the story of Jeanette, adopted and brought up by her mother as one of God's elect. Zealous and passionate, she seems seems destined for life as a missionary, but then she falls for one of her converts.At sixteen, Jeanette decides to leave the church, her home and her family, for the young woman she loves. Innovative, punchy and tender, Oranges Are Not the Only Fruit is a few days ride into the bizarre outposts of religious excess and human obsession.

The hero-narrator of The Catcher in the Rye is an ancient child of sixteen, a native New Yorker named Holden Caulfield. Through circumstances that tend to preclude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days. The boy himself is at once too simple and too complex for us to make any final comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it. There are many voices in this novel: children's voices, adult voices, underground voices-but Holden's voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher orders, he keeps most of the pain to, and for, himself. The pleasure he gives away, or sets aside, with all his heart. It is there for the reader who can handle it to keep. J.D. Salinger's classic novel of teenage angst and rebellion was first published in 1951. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923. It was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the court for its liberal use of profanity and portrayal of sexuality and in the 1950's and 60's it was the novel that every teenage boy wants to read.

Japan's most highly regarded novelist now vaults into the first ranks of international fiction writers with this heroically imaginative novel, which is at once a detective story, an account of a disintegrating marriage, and an excavation of the buried secrets of World War II.In a Tokyo suburb a young man named Toru Okada searches for his wife's missing cat. Soon he finds himself looking for his wife as well in a netherworld that lies beneath the placid surface of Tokyo. As these searches intersect, Okada encounters a bizarre group of allies and antagonists: a psychic prostitute; a malevolent yet mediagenic politician; a cheerfully morbid sixteen-year-old-girl; and an aging war veteran who has been permanently changed by the hideous things he witnessed during Japan's forgotten campaign in Manchuria.Gripping, prophetic, suffused with comedy and menace, The Wind-Up Bird Chronicle is a tour de force equal in scope to the masterpieces of Mishima and Pynchon.Three books in one volume: The Thieving Magpie, Bird as Prophet, The Birdcatcher. This translation by Jay Rubin is in collaboration with the author.

The works of Friedrich Nietzsche have fascinated readers around the world ever since the publication of his first book more than a hundred years ago. As Walter Kaufmann, one of the world's leading authorities on Nietzsche, notes in his introduction, "Few writers in any age were so full of ideas," and few writers have been so consistently misinterpreted. The Portable Nietzsche includes Kaufmann's definitive translations of the complete and unabridged texts of Nietzsche's four major works: Twilight of the Idols, The Antichrist, Nietzsche Contra Wagner and Thus Spoke Zarathustra. In addition, Kaufmann brings together selections from his other books, notes, and letters, to give a full picture of Nietzsche's development, versatility, and inexhaustibility. "In this volume, one may very conveniently have a rich review of one of the most sensitive, passionate, and misunderstood writers in Western, or any, literature." --Newsweek

The quintessential novel of the Lost Generation, The Sun Also Rises is one of Ernest Hemingway's masterpieces, and a classic example of his spare but powerful writing style. A poignant look at the disillusionment and angst of the post-World War I generation, the novel introduces two of Hemingway's most unforgettable characters: Jake Barnes and Lady Brett Ashley. The story follows the flamboyant Brett and the hapless Jake as they journey from the wild nightlife of 1920s Paris to the brutal bullfighting rings of Spain with a motley group of expatriates. It is an age of moral bankruptcy, spiritual dissolution, unrealized love, and vanishing illusions. First published in 1926, The Sun Also Rises helped to establish Hemingway as one of the greatest writers of the twentieth century.

A brilliant satire of mass culture and the numbing effects of technology, White Noise tells the story of Jack Gladney, a teacher of Hitler studies at a liberal arts college in Middle America. Jack and his fourth wife, Babette, bound by their love, fear of death, and four ultramodern offspring, navigate the rocky passages of family life to the background babble of brand-name consumerism. Then a lethal black chemical cloud, unleashed by an industrial accident, floats over their lives, an "airborne toxic event" that is a more urgent and visible version of the white noise engulfing the Gladneys—the radio transmissions, sirens, microwaves, and TV murmurings that constitute the music of American magic and dread.

Featuring a foreword by Heidegger scholar Taylor Carman, this essential collection provides readers with a concise introduction to the groundbreaking philosophy of this brilliant and essential thinker.Few philosophers have had more influence on the shape of western philosophy after 1900 than Martin Heidegger. Basic Writings offers a full range of this profound and controversial thinker's writings in one volume, including:The Origin of the Work of ArtThe introduction to Being and TimeWhat Is Metaphysics?Letter on HumanismThe Question Concerning TechnologyThe Way to LanguageThe End of Philosophy

Set in the 1950s Paris of American expatriates, liaisons, and violence, a young man finds himself caught between desire and conventional morality. With a sharp, probing imagination, James Baldwin's now-classic narrative delves into the mystery of loving and creates a moving, highly controversial story of death and passion that reveals the unspoken complexities of the human heart.

Featuring his world-famous masterpiece, "Death in Venice," this new collection of Nobel laureate Thomas Mann's stories and novellas reveals his artistic evolution. In this new, widely acclaimed translation that restores the controversial passages that were cut out of the original English version, "Death in Venice" tells about a ruinous quest for love and beauty amid degenerating splendor. Gustav von Aschenbach, a successful but lonely author, travels to the Queen of the Adriatic in search of an elusive spiritual fulfillment that turns into his erotic doom. Spellbound by a beautiful Polish boy, he finds himself fettered to this hypnotic city of sun-drenched sensuality and eerie physical decay. Also included in this volume are eleven other stories by Mann: "Tonio Kroger," "Gladius Dei," "The Blood of the Walsungs," "The Will for Happiness," "Little Herr Friedmann," "Tobias Mindernickel," "Little Lizzy," "Tristan," "The Starvelings," "The Wunderkind," and "Harsh Hour." All of the stories collected here display Mann's inimitable use of irony, his subtle characterizations, and superb, complex plots.

The LGBT agenda for too long has been dominated by pragmatic issues like same-sex marriage and gays in the military. It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

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 recent publication by New Directions of five Lispector novels revealed to legions of new readers her darkness and dazzle. Now, for the first time in English, are all the stories that made her a Brazilian legend: from teenagers coming into awareness of their sexual and artistic powers to humdrum housewives whose lives are shattered by unexpected epiphanies to old people who don’t know what to do with themselves. Lispector’s stories take us through their lives—and ours.From one of the greatest modern writers, these stories, gathered from the nine collections published during her lifetime, follow an unbroken time line of success as a writer, from her adolescence to her death bed.

The Hour of the Star, Clarice Lispector's consummate final novel, may well be her masterpiece. Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabéa, one of life's unfortunates. Living in the slums of Rio de Janeiro and eking out a poor living as a typist, Macabéa loves movies, Coca-Cola, and her rat of a boyfriend; she would like to be like Marylin Monroe, but she is ugly, underfed, sickly, and unloved. Rodrigo recoils from her wretchedness, and yet he cannot avoid realization that for all her outward misery, Macabéa is inwardly free. She doesn't seem to know how unhappy she should be. Lispector employs her pathetic heroine against her urbane, empty narrator--edge of despair to edge of despair--and, working them like a pair of scissors, she cuts away the reader's preconceived notions about poverty, identity, love, and the art of fiction. In her last novel she takes readers close to the true mystery of life, and leaves us deep in Lispector territory indeed.

The second film in Terence Davies's autobiographical series ('Trilogy', 'The Long Day Closes') is an impressionistic view of a working-class family in 1940s and 1950s Liverpool, based on Davies's own family. The first part, 'Distant Voices', opens with grown siblings Eileen (Angela Walsh), Maisie (Lorraine Ashbourne) and Tony (Dean Williams), and their mother (Freda Dowie) arranged in mourning clothes before the photograph of their smiling father (Pete Postlethwaite). Soon after, the family poses in a similar tableau, but for a happier occasion - Eileen's wedding. While relatives sing at her reception, Eileen hysterically grieves for her dad, and recalls happy times of her youth. Tony and Maisie's memories, however, are more troubled. Davies intermingles and contrasts scenes like the family peacefully lighting candles in church with the brutal man beating his wife and terrorizing his young children. In 'Still Lives', set (and filmed) two years later, the siblings are settled in life, but not all happily. For Eileen, relief from her drab existence comes only when singing at the pub. With his skillfully composed frames and evocative use of music in place of dialogue, Davies creates a lovely, affecting photo album of a troubled family wrestling with the complexity of love.

A wordless film, save for a voice-over introducing us to the imagery of dreams. A shirtless young man dreams of awakening to finds photographs of a muscular sailor carrying him in his arms. He goes to a bar where the sailor from his dream displays his muscular upper torso. A gang of sailors, swinging chains, enters menacingly. He watches, smoking. They surround him and an assault begins. Surreal touches accent the dream-like qualities. A phallic firework, a flaming Christmas tree, and the burning photographs provide climax and closure as the young man, back in bed, is beside the sailor.

An erotic poem set in the fantasies of a young male prostitute.

In a small, unnamed country there's an area called the Zone. It's an unusual area, and within its a place known as the Room, where it's believed wishes are granted. The government declared The Zone a no-go area and have sealed it off. This hasn't stopped people from entering the Zone. A writer, and a professor, want to reach the Zone. Their guide - a man known as a stalker, has a special relation with the Zone.

Luo Hongwu returns to Kaili, the hometown from which he fled 12 years earlier. As memories of an enigmatic and beautiful woman resurface - a woman he loved and whom he has never been able to forget - Luo Hongwu begins his search for her. Past and present, reality and dream interweave in Bi Gan's stunningly beautiful and highly innovative film noir.

In the mystical,subtropical province of Guizhou,there is a small county clinic surrounded by fog.At the Kaili clinic,there are two doctors who live quiet,lonely lives.One of the doctors,Chen Sheng,embarks on a journey by train to find his nephew, who had been abandoned by his brother. On the way to Zhenyuan ,Chen Sheng came across a place called Dang Mai, where time seemed to flow both forwards and backwards, the lives of the local people a complete mystery. He experiences his own past and future,lending him insight into his own life. Once Chen arrives at Zhen Yuan, rather than approaching his nephew, he watches secretly from a distance, he is surprised to find that his nephew flourished in the absence of his father, and decides not to interfere in his life. Before he had left Kaili, he had promised his colleague that he w ould stop by the home of her former lover to deliver some items, but upon his arrival, he is told that the man had passed away, and he leaves the box of mementos with the son of his colleague's former lover. Chen once again boards the train to return home. His mind is troubled, he cannot decide whether he believes that the world as he experiences it, is a product of his imagination, or if he is just a part of some large collective dream.

Chekhov in contemporary Argentina. Mecha and Gregorio are at their rundown country place near La Ciénaga with their teen children. It's hot. The adults drink constantly; Mecha cuts herself, engendering a trip to the hospital and a visit from her son José. A cousin, Tali, brings her children. The kids are on their own, sunbathing by the filthy pool, dancing in town, running in the hills with shotguns, driving cars without licenses. One of the teen girls loves Isabel, a family servant constantly accused of stealing. Mother and son, son and sisters, teen and Isabel are in each other's beds and bathrooms with a creepy intimacy. With no adults paying attention, who's at risk?

Journalist Jep Gambardella has charmed and seduced his way through the lavish nightlife of Rome for decades. Since the legendary success of his one and only novel, he has been a permanent fixture in the city's literary and social circles, but when his 65th birthday coincides with a shock from the past, Jep finds himself unexpectedly taking stock of his life, turning his cutting wit on himself and his contemporaries, and looking past the extravagant nightclubs, parties, and cafés to find Rome in all its glory: a timeless landscape of absurd, exquisite beauty.

Manny, Joel, and Jonah tear their way through childhood and push against the volatile love of their parents. As Manny and Joel grow into versions of their father and Ma dreams of escape, Jonah embraces an imagined world all on his own.

In the mid 1990's, 20 French urban dancers join together for a three-day rehearsal in a closed-down boarding school located at the heart of a forest to share one last dance. They then make one last party around a large sangria bowl. Quickly, the atmosphere becomes charged and a strange madness will seize them the whole night. If it seems obvious to them that they have been drugged, they neither know by who nor why. And it's soon impossible for them to resist to their neuroses and psychoses, numbed by the hypnotic and the increasing electric rhythm of the music. While some feel in paradise, most of them plunge into hell.

A filmmaker returns home with his girlfriend following a celebratory movie premiere as he awaits what's sure to be imminent critical and financial success. The evening suddenly takes a turn as revelations about their relationships begin to surface, testing the strength of their love.

High-school student Sam Witwicky buys his first car, who is actually the Autobot Bumblebee. Bumblebee defends Sam and his girlfriend Mikaela Banes from the Decepticon Barricade, before the other Autobots arrive on Earth. They are searching for the Allspark, and the war on Earth heats up as the Decepticons attack a United States military base in Qatar. Sam and Mikaela are taken by the top-secret agency Sector 7 to help stop the Decepticons, but when they learn the agency also intends to destroy the Autobots, they formulate their own plan to save the world.

In the wake of an unknown global terror, a mother must find the strength to flee with her children down a treacherous river in search of safety. Due to unseen deadly forces, the perilous journey must be made blindly. Directed by Emmy winner Susanne Bier, Bird Box is a thriller starring Academy Award winner Sandra Bullock, John Malkovich, Sarah Paulson, and Trevante Rhodes.

In 1962, Tony "Tony Lip" Vallelonga, a tough bouncer, is looking for work when his nightclub is closed for renovations. The most promising offer turns out to be the driver for the African-American classical pianist Don Shirley for a concert tour into the Deep South states. Although hardly enthused at working for a black man, Tony accepts the job and they begin their trek armed with The Negro Motorist Green Book, a travel guide for safe travel through America's racial segregation. Together, the snobbishly erudite pianist and the crudely practical bouncer can barely get along with their clashing attitudes to life and ideals. However, as the disparate pair witness and endure America's appalling injustices on the road, they find a newfound respect for each other's talents and start to face them together. In doing so, they would nurture a friendship and understanding that would change both their lives.

In the Town of Derry, the local kids are disappearing one by one. In a place known as 'The Barrens', a group of seven kids are united by their horrifying and strange encounters with an evil clown and their determination to kill It.

It is based on the real life story of legendary cryptanalyst Alan Turing. The film portrays the nail-biting race against time by Turing and his brilliant team of code-breakers at Britain's top-secret Government Code and Cypher School at Bletchley Park, during the darkest days of World War II.

Woody, Buzz Lightyear and the rest of the gang embark on a road trip with Bonnie and a new toy named Forky. The adventurous journey turns into an unexpected reunion as Woody's slight detour leads him to his long-lost friend Bo Peep. As Woody and Bo discuss the old days, they soon start to realize that they're two worlds apart when it comes to what they want from life as a toy.

After crashing an experimental aircraft, Air Force pilot Carol Danvers is discovered by the Kree and trained as a member of the elite Starforce Military under the command of her mentor Yon-Rogg. Six years later, after escaping to Earth while under attack by the Skrulls, Danvers begins to discover there's more to her past. With help from S.H.I.E.L.D. agent Nick Fury, they set out to unravel the truth.

2019 film directed by Anna Boden and Ryan Fleck

Our friendly neighborhood Super Hero decides to join his best friends Ned, MJ, and the rest of the gang on a European vacation. However, Peter's plan to leave super heroics behind for a few weeks are quickly scrapped when he begrudgingly agrees to help Nick Fury uncover the mystery of several elemental creature attacks, creating havoc across the continent.

After the devastating events of Avengers: Infinity War (2018), the universe is in ruins due to the efforts of the Mad Titan, Thanos. With the help of remaining allies, the Avengers must assemble once more in order to undo Thanos's actions and undo the chaos to the universe, no matter what consequences may be in store, and no matter who they face...

2019 film directed by Anthony and Joe Russo

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