Michele(Giuseppe Cristiano) is 10 year old boy who lives near a wheat field with his family. He and his younger sister Maria play with their friends in these fields, until one day Michele discovers a boy of his age who is hidden in an underground cave. First he becomes frightened, but later worries about the boy and starts to feed and give water to him regularly. One night, Michele wakes up and hears his father and his friends talking about a kidnapped boy called Filippo, and when he sees Filippo's picture in TV he immediately realises that he is the boy he found in the cave.

Marcello (Marcello Mastroianni) has worked hard all his life to achieve a certain standing and success as a lawyer in Rome. He is pleased to be able to offer the fruits of his success to his son Michele (Massimo Troisi), and is perplexed and distressed that his unambitious son has no interest in any of these things. Michele is serving a term in the Italian military in the port town of Civitavecchia, and Marcello is visiting him there. Here he meets Michele's salty girlfriend Loredana (Anne Parillaud). The father and son share some meals and explore their differences. Though at first it appears that these two men will not be able to tolerate one another, they eventually decide to live and let live.

On a feudal farm in northern Spain, stereotypical images of noble, earthy peasants are made unexpectedly touching in Mario Camus's ''Holy Innocents,'' which focuses on the travails of one peasant family. As gatekeepers to the large country estate of a marchioness and her family in the 1960's, these workers are privy to all the aristocracy's cruelty and callousness.

After 25 years of married life, Julien and Clemence Bouin have ended up hating each other. Living in a dilapidated house soon to be demolished, their lives are filled with bitterness and regret for the happy past both have lost. When Julien adopts a stray cat and smothers it with affection, Clemence’s suppressed resentment turns to hatred…
Superb performances by Gabin and Signoret.

Three men, previously unknown to each other, are arrested in New Orleans and placed in the same cell. Both Zack, a DJ, and Jack, a pimp, have been set up, neither having committed the crime for which they have been arrested. Their cellmate, Bob, however, although the only true innocent of the three, is in fact guilty of the manslaughter for which he has been arrested. Zack and Jack soon come to blows and thereafter try to avoid speaking to each other. Bob, however, has an irrepressible need for conversation and will not be silenced by the immature, sulking ne'er-do-wells. Bob hatches a plan to escape, and before long the three are on the run through the swamp surrounding the prison.

The second of Ozu's war-era films, and the first to feature Chishu Ryu in the leading role. This film starts with the story of a teacher and his young son. After one of the students under Ryu's care drowns on a school outing, the father resigns as a teacher due to his "failure". Father and son then must split up, the son to go to middle school and Ryu to work in to Tokyo to pay for his son's education. Even when the son is grown - and teaching in an agricultural college - the two remain separated - except for very rare, very short visits - due to Ryu's fanatic devotion to duty, an attitude he presses on his son as well.

Three women -- a grandmother, a middle-aged daughter, and a university-student granddaughter, live together, male-less, in Tblisi amid post-Soviet economic collapse. An occasional hard-currency bill shows up in letters from a beloved son/brother/uncle, who has qualified as a physician but is working as a clandestine laborer in Paris. The women snap at each other, manipulate one another, and confront life as best they can, each from her own perspective and unique experience. There is a large apartment filled with treasured bibelots and French books, and the suggestion of a more respectable, Chekovian Francophile pre-revolutionary past.

A reconstruction of the trial of Joan of Arc, based entirely on the transcripts of the real-life trial, concerning Joan's imprisonment, interrogation and final execution at the hands of the English, filmed in a spare, low-key fashion.

''The Cuckoo'' is set during a confusing period at the end of World War II, when the Nazi occupiers of Finland were in retreat from the advancing Russian army. As the Nazis pulled out, they left behind many of the young Finns who had been pressed into service on the German side. This film, from the Russian director Alexander Rogozhkin (''Chekist,'' 1992), tells the story of one of them: a beefy Finnish student named Veiko (Ville Haapasalo), who is dressed in an SS uniform, equipped with an ancient rifle and chained to a rock somewhere in Lapland with instructions to shoot as many Russians as possible before he is taken or starves to death. He is what the Russian soldiers call a cuckoo: a sniper on a suicide mission.

Just north of London live Wendy, Andy, and their twenty-something twins, Natalie and Nicola. Wendy clerks in a shop, leads aerobics at a primary school, jokes like a vaudevillian, agrees to waitress at a friend's new restaurant and dotes on Andy, a cook who forever puts off home remodeling projects, and with a drunken friend, buys a broken down lunch wagon. Natalie, with short neat hair and a snappy, droll manner, is a plumber; she has a holiday planned in America, but little else. Last is Nicola, odd man out: a snarl, big glasses, cigarette, mussed hair, jittery fingers, bulimic, jobless, and unhappy. How they interact and play out family conflict and love is the film's subject.

A mild-mannered middle-aged man who has lost his job as a mechanic struggles to make ends meet while living with his daughter's family. After he helps out a woman whose car has broken down, he receives as a gift a pedigree dog. Through a chance meeting, he winds up being drawn into the less than perfect world of dog shows and breeding. Villegas, the main character, seems an innocent in this world, and his trusting nature and desire to make a better life for himself make him the victim of an unscrupulous trainer. But it is his kindness and his affection for the dog that shine through all the adversity.

Set in a bleak Bohemian town, liberally scattered with broken down cars and half-ruined industrial installations, this sympathetic, affecting drama outlines the unorthodox love affair of two fellow apartment block residents (Tonik and Monika), thrown together by their friendship with a third, the mentally unstable Dasa (Geislerová). Liska is excellent as the gentle Tonik who matches the betrothed Monika in selflessness as they share the burden of looking after Dasa two young children as Dasa’s behaviour deteriorates. Writer/director Sláma shows considerable adeptness in tonal control, melding quite seamlessly the social and emotional concerns of his observant script.

Marc is sitting in his bath one morning and asks his wife, "how would you feel if I shaved off my mustache?" She doesn't think it's a great idea, for the 15 years they've been married, she's never known him without his 'stache. He shaves it off anyway, but when he sees his wife, she doesn't notice, neither do their friends at dinner that night, neither do his co-workers. Marc finally flips out, shouts at everyone, tells them he's tired of their little joke, and what do they really think. His wife and co-workers are appalled, what is he talking about, he's never had a mustache. In fact, he's imagining other things as well, or is he?

After taking on 16-year-old Eiko (Ayako Wakao) as an apprentice, geisha Miyoharu (Michiyo Kogure) and her new protégé find their positions compromised by men (Seizaburô Kawazu and Kanji Koshiba) who demand more than geisha traditionally provide.

Lucrecia Martel directed this potent drama of love, sex, misunderstanding, and coming-of-age. Amalia (María Alche) is a girl edging into her early teens who has begun to ripen into adulthood. Amalia lives in a big hotel owned and operated by her divorced mother, Helena (Mercedes Morán), and her uncle Freddy (Alejandro Urdapilleta). Amalia and her best friend, Josefina (Julieta Zylberberg), are becoming increasingly aware of their own desires and are curious about sex, but between their Catholic education and Helena's unwillingness to discuss such matters with her daughter, their speculation outstrips their actual knowledge.