A young couple marry in France in the 1940s and the film follows the arc of their marriage over the next decade. As France recovers from the trauma of the war, the wife finds herself increasingly caught up in acquiring material possessions while the husband prefers a more traditional lifestyle.
A young boy is trying to arrange money in order to build aircraft.
A forty-year old who lived a comfortable life in the Soviet Union, ends up in Georgia in the difficult condition of having to adapt to change. She is granted a loan at a high interest rate and little by little becomes drowned in debt, trapped in a vicious circle that she can’t get out of.
Xiaoqing and Xiaohong are twins with distinctive, different personalities. Xiaoqing believes in true love while Xiaohong only cares about money. Drama ensues when they both start pursuing love for the sake of money.
At the heart of the plot lies a conflict between a young woman and a bank employee over some hidden clauses in a mortgage deal. The 25-year old young woman is married and works as manager; she is paying off a long-term mortgage. One day she finds out that she has an incurable disease and that her husband, an airline steward, has perished in an air crash. The insurance sum is sufficient to cover the mortgage in one lump sum... An allusion to people trading the best years of their life for an apartment, only in this case the trade is literally between an apartment and life.
When they're not romancing their girls, the Warkop comedy trio forms a team to help people in need, which includes solving a child kidnapping case and finding themselves facing off against ghosts and the kuntilanak (the Indonesian version of a banshee).
A shocking video of a double murder in Russia appeared on YouTube in 2007. The police investigation reached a dead end; two years later, director Vladi Antonevicz and his friend Dima “Shurabi” set off on a daring investigation of their own. Snooping around the darkest crevices of Russia’s neo-Nazi underground, they are determined to find the killers.
We've seen it a hundred times before - boy meets girl, boy gets girl, boy loses girl, boy gets girl back, and they live happily ever after. Until the credits roll. And after that, it's a completely different story.
Maxed Out takes us on a journey deep inside the American debt-style, where everything seems okay as long as the minimum monthly payment arrives on time. Sure, most of us may have that sinking feeling that something isn't quite right, but we're told not to worry. After all, there's always more credit!
A young offender on the mend, 19-year-old Cole Hurley agrees to attend a university devoted to prisoner reform. But hope for a turnaround is endangered by his impulsive affair with the seductive Kay Weller, a professor desperate to escape her abusive husband - and Cole is her only way out. But when Kay's husband is found murdered, Cole's education comes with a new lesson: trust no one.
A love triangle is unraveled when a young painter is approached by an admirer who eases him into making sense of his relationship with his wife.
Two slick con men down and out in the seedy end of London discover an attaché case in the trash. Inside are some mysterious documents and several credit cards belonging to "Sir James". Using the credit cards, they lavishly rack up debt for food, drink, women, clothes and hotel suites. Little do they know, the attaché case belongs to a murdered spy and contains secret plans for Russian world conquest!
Alan pretends he has won the lottery to make sure his wife, Donna, isn't about to leave him even though Alan also has a mistress named Gilly. Alan cons everyone from car firms to building societies he's won the lottery. Will it all end in tears when the truth comes out?
With his hand-held video camera, Jalal Toufic presents faces of ordinary people living in a war-ravaged country. He begins with a 1987 US state department document invalidating US passports for travel to Lebanon. Then, we see walls marked by bullet holes, film students listening to a lecture and practicing scenes in a restaurant. Next, the camera visits a mental hospital in Fanar and an older man, holding his Koran, laments being a refugee within his own country. The camera then enters a nursery school. The colors of poetry are red and green; the cost of being Lebanese is to orphan one's children in order then to adopt them.