Ce film de Laetitia Carton est dédié à son ami sourd Vincent qui, mort à l’âge de 32 ans, lui avait fait découvrir la langue des signes française (LSF), la culture sourde et le monde des sourds.
Le film décrit le quotidien des employés du Département des Anciens combattants des États-Unis qui répondent au téléphone sur la hotline dédiée au suicide de vétérans.
De retour d'Afrique, où il s'était réfugié pour fuir les mauvais souvenirs de la Première Guerre mondiale, Georges, ancien soldat, retrouve la France, sa mère et son frère, Marcel. Ce dernier est invalide de guerre ; il est muet, à la suite d'un traumatisme.
Le film narre en quatre chapitres (Révélation, Exode, Genèse et Châtiment) complétés par un prologue et un épilogue, les errances d'un pasteur rigoriste dans l'Ouest américain de la fin du XIXe siècle, qui poursuit inlassablement et impitoyablement une jeune femme appelée Liz.
Every Last Child shows the steps taken in Pakistan to eliminate poliomyelitis (polio) infection from the country. Polio, which had almost been eradicated from the world, showed resurgence in Pakistan after the Taliban banned polio vaccinations. The film also shows the efforts made by health care workers, who, in spite of difficulties while doing their work such as violence and politics, attempted to save Pakistani children from polio.
Florida Justice Transitions abrite 120 délinquants sexuels condamnés. Comme dans de nombreux autres États américains, les délinquants sexuels ne sont pas autorisés à vivre à moins de 300 mètres des lieux fréquentés par les enfants. Pour cette raison, de nombreux délinquants sexuels vivent sous des ponts ou dans des bois – ou dans le parc à roulottes Florida Justice Transitions – connu sous le nom de Pervert Park. Les crimes commis par les résidents vont de simples délits à des actes horribles insupportables à envisager.
Enfant, O'Kin est gravement blessée et défigurée par le Seigneur Daizen-dayu qui cherche à mettre la main sur un sabre légendaire détenu par la famille de la jeune file. Devenue adulte et épéiste de talent, O'Kin va recroiser la route de Daizen-dayu...
The director studied the transformation of social values using the example of a group of five friends who meet after a long separation and share with each other the details of their difficult lives. The film became the symbol of the 1950s generation and reflected his personal views on the problem of alienation in the modern world. The film was shot in a surreal way with a predilection for the aesthetics of the Marquis de Sade. In it, for the first time in Nikolaidis' filmography, one can see the characteristic elements of film noir which became part and parcel of Nikolaidis' unique approach in the majority of the films that followed. The film follows four men who had been adolescents in the 1950s and are now in their forties. A fifth person, a woman, who has been in and out of psychiatric hospitals due to unspecified disorders, also appears. Efi Papazachariou, who wrote an article about it in World Film Locations: Athens, stated that it is "one of the most unconventional Greek films.
The film documents Becker's rise to near-stardom, following him from the first time he touched a guitar as a five-year-old to when he was drafted into The David Lee Roth Band as lead guitarist at the age of 19. In 1990, this was considered perhaps the most coveted rock guitar gig on the planet, as Becker would be following in the footsteps of acclaimed guitarists Eddie van Halen and Steve Vai, both of whom played with David Lee Roth as lead guitar player. It was shortly after that Becker was diagnosed with Amyotrophic Lateral Sclerosis, more popularly known as Lou Gehrig's disease, and given just 3 to 5 years to live. Becker was able to finish the recording of Roth's third full-length studio album A Little Ain't Enough but was unable to make the tour due to his physical decline.