The London branch of Whitney Paine, a major American investment bank, is in the midst of a crisis; after the loss of $100 million, one of their leading traders, Tony Eisner commits suicide by putting a slug through his head while seated at his place in the board room. Despite the high stakes, many of the firm's staff are eager to step into Tony's now-vacated shoes and get credit for saving the company. Daniel Pascoe, the leading trader at the firm, is convinced that he's first in line for the assignment, but the firm imports a new trader from America, Anna Schuman. Daniel is enraged and makes a point of trying to dig up as much dirt on Anna as he can, but things are going to take another turn.
Freelance journalist David Dunhill stumbles onto the biggest story of his career - but his personal eccentricities seem likely to thwart him.
Four kids travel to the magical land of Narnia where they must battle an evil queen with the direction of the lion, Aslan.
When he was a little boy, Dillon's rock musician father and hippie mother died in a traffic accident. Now in his twenties, Dillon wants nothing more than a normal, responsible life, working in an office and taking care of the grandmother who raised him. But his grandmother has other ideas, and Dillon finds himself lured into an alternate lifestyle of art, pleasure and rebellion.
An old man remembers the troubled relationship he had with his mother, the erotic games, and the phantasms in which she managed to attract him. The main line gives but a small idea of the film, of its erotic style, its choreographic dimension, its strange fragmentation. The film drifts along an ever-renewed invention, intertwining lavish dances, mask games, musical comedy, parodies, permanent repression of the body offering itself as an object of desire to the viewer who is literally seduced.’
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