During World War II era, a young woman, Wang Jiazhi, gets swept up in a dangerous game of emotional intrigue with a powerful political figure, Mr. Yee.

In this revered Western, Ethan Edwards (John Wayne) returns home to Texas after the Civil War. When members of his brother's family are killed or abducted by Comanches, he vows to track down his surviving relatives and bring them home. Eventually, Edwards gets word that his niece Debbie (Natalie Wood) is alive, and, along with her adopted brother, Martin Pawley (Jeffrey Hunter), he embarks on a dangerous mission to find her, journeying deep into Comanche territory.

Teen friends Tummler (Nick Sutton) and Solomon (Jacob Reynolds) navigate the ruins of a tiny, tornado-ravaged town in Ohio that is populated by the deformed, disturbed and perverted. When not gunning down stray cats for a few bucks, the boys pass their time getting stoned on household inhalants. Elsewhere, the mute Bunny Boy (Jacob Sewell) dons rabbit ears and is bullied by kids half his age, and sisters Dot (Chloe Sevigny) and Helen (Carisa Glucksman) dodge a pedophile.

When their plan to book a show at the Rivoli goes horribly wrong, Matt and Jay accidentally travel back to the year 2008.

In an underwater city, a young girl takes care of a large egg she holds carefully in her arms. A boy with a gun arrives in search of a bird he saw in his dream. At first, it seems as if feelings of sympathy are developing between the two.

Forty years after the film’s original release, Anime Limited is proud to present an all-new 4K restoration of the film, supervised by director Mamoru Oshii, in cinemas nationwide for the very first time.

The film is a creative collaboration between acclaimed director Mamoru Oshii (Ghost in the Shell), who wrote and directed the feature, and revered artist Yoshitaka Amano (Final Fantasy, Vampire Hunter D). The film beautifully intertwines Oshii’s thematic reflections on philosophy and theology with Amano’s distinctive ink painting style, culminating in an arrestingly beautiful hand-drawn allegorical fantasy.

An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by Hou Hsiao-hsien traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai “flower houses,” where courtesans live confined to a gilded cage, ensconced in opulent splendor but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (Tony Leung Chiu-wai), whose relationship with his longtime mistress (Michiko Hada) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, Flowers of Shanghai evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreen—even as its emotional fallout registers with quiet devastation.