Marius and Jeannette is a heartwarming comedy drama set in Marseille, France in the 1990s. It tells the story of Marius, an unemployed man in his forties, and Jeannette, a single mother working as a supermarket checkout clerk. Despite their struggles with poverty and the challenges of their pasts, they find love and hope in each other. The film explores themes of unemployment, growing old, love, and the resilience of the human spirit.
In post-war Tokyo, an American investigator infiltrates a Japanese gang to uncover their criminal activities, leading to a dangerous game of betrayal and romantic rivalry.
Kamoteng Kahoy depicts the story of a vendor in a provincial setting. He faces various challenges and struggles, including being blamed for certain events and dealing with the death of loved ones. The plot also explores themes of shame, farming, and the impact of a cement factory on the community.
A Lady of Chance is a pre-Code film about a manipulative female con-artist who finds sudden wealth and uses her charm to navigate through relationships and criminal schemes. She manipulates her husband, brother, and even the police to achieve her goals. Along the way, she experiences love, betrayal, and her own downfall. Set in Alabama, the story touches on themes of romance, domestic drama, and tearjerker romance.
The planet is filled with dust and particles of all kinds, natural or originated by man. Such a state of things has of course a great many consequences for public health, with diseases like silicosis, inherent in various human activities, some of which are detailed (farming, notably the treatment of flax; industrial activity, particularly porcelain and cement work, coal mining).
There are houses, and then there’s Ricardo Bofill’s house: a brutalist former cement factory of epic proportions on the outskirts of Barcelona, Spain. A grandiose monument to industrial architecture in the Catalonian town of Sant Just Desvern, La Fabrica is a poetic and personal space that redefines the notion of the conventional home. “Nowadays we want everyone who comes through our door to feel comfortable, but that's not Bofill’s idea here,” says filmmaker Albert Moya, who directed latest installment of In Residence. “It goes much further, you connect with the space in a more spiritual way.” Rising above lush gardens that mask the grounds’ unglamorous roots, the eight remaining silos that once hosted an endless stream of workmen and heavy machinery now house both Bofill’s private life, and his award-winning architecture and urban design practice.
Sniffer the dog tries to get a bone.
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