在德里，来自印度东北部的朋友们为婚礼派对准备一道辛辣的菜肴，导致她们与奇怪的邻居之间发生冲突，并上演了令人啼笑皆非的闹剧。

小高源吾是个喜爱怪兽的漫画家，但是自己所创作的怪兽往往不被自己的上司所欣赏，某天一个怪兽游乐园的人看中了他的作品于是雇用了小高，起初小高还很高兴的接下了这项工作，但是在过程当中却不断的发生奇怪的事情，也因此使得在怪兽岛的哥吉拉派遣安基拉斯来到日本，结果小高发现这居然是一场阴谋，而且这个阴谋正是以哥吉拉跟地球为目标.......

This is a story about a city guy Nikolai, who will have to go instead of his friend on a rural business trip. A series of funny events, meetings and the beauty of the Yakut village encourage Nikolai to make an important decision in his life…

In a night of killer comedy, Bill Burr hosts a showcase of his most raucous stand-up comic pals as they riff on everything from COVID to Michael Jackson.

Umesh, a loafer, leaves his home town and goes to Chennai to become a film-maker when his father asks him to manage their grocery store. A selfie that he takes in Chennai changes his life forever.

On his journey towards becoming a film director, Cole discovers an insight that flips his perspective on his way of living.

An aggressive police officer tries to solve the mystery behind consecutive murders. While doing so, he must fight against his inner demons.

　　在一次执行任务中，警察尼克（杰森·帕特里克 Jason Patric 饰）无意中开枪击中了一名孕妇，这场悲剧让尼克丢掉了饭碗，也让他深深的陷入了自责的情绪中无法自拔。一场恶性凶杀案的发生让城市陷入了恐慌，在和罪犯周旋的过程中，警方损失惨重。无奈之下，警方找到了尼克，希望他能够协助破案，与此同时，他们许下了承诺，若果杰克出色的完成任务，他将重新回到警察的岗位上来。 　　亨利（雷·利奥塔 Ray Liotta 饰）成为了尼克的新搭档，亨利的旧搭档在之前追捕凶手的行动中不幸殒命。就这样，怀揣着各自的目的，亨利和尼克展开了对案件的调查，然而，随着调查的深入，一个惊天秘密逐渐浮出了水面，而这个秘密的出现也将亨利和尼克带入了十分危险的境地。

A bourgeois couple, like so many others. It is clear that after a few years of marriage a bit of boredom may come, and it is their case: especially boredom in bed.

午夜电影：从边缘到主流告诉这些里程碑电影隐藏的历史，萨尔瓦多地形（1970），活死人之夜（1968年），就越难他们来（1973年），粉红色的火烈鸟（1972年），洛基恐怖图片展示（1975年），和橡皮头（1977）。该纪录片包括深入采访导演，制片人，编剧和演员谁是这些低预算的一部分，但不朽的作品，参展商和谁打他们的经销商，谁看到他们的观众。

Sami, Tacchini, Yaya and Kader are four small-time crooks from the suburbs of Paris. After a failed robbery, their boss, Carlito, sends them to Canada to spy on his fiancée. There, they are mistaken for a band of professional killers and are hired to assassinate the heiress Léonore de Segonzac...

　　加美拉与卡欧斯决战后的冬天，北海道降下流星雨，其中一颗坠落在支笏湖南西方约一公里处，陆上自卫队第11师团随即派出化学防护小队，渡良瀬佑介二佐与花谷陆尉深入调查，发现到了是陨石坠落。 　　五天后，事件的原凶开始现身，札幌市地下铁的电车在隧道内被不明生物攻击，北海道札幌市的薄野出现巨大植物，巨大植物窜出一群体长3m，类似昆虫的甲壳类生物。 　　怪虫(Legion)与植物是与流星一起飞来的地球外物体，两者属共生关系，Legion会借由啃食硅酮并分泌氧气来制造植物(草体)，在这种高浓度氧的环境下，地球生物绝对无法生存，自卫队决定用爆破处理草体。此时海上自卫队探测到加美拉往札幌飞去........

Jessica Fletcher, lecturing at a writers' conference, finds herself called on to solve the killing of a guest speaker, an arrogant Russian author who'd written a nonfiction, tell-all book about his tenure as head of the KGB.

片中洛克饰演安德雷·艾伦，因搞笑脱口秀而走红，通过出演欢脱无脑的电影（扮成一只棕熊）跻身好莱坞，即将与一位真人秀女星结婚。未婚妻希望将他们的婚礼在她的真人秀节目中直播，经理人则告诉他这样会损害他的形象和事业，降低身价。 　　同时，一位《纽约时报》记者（罗莎里奥·道森饰）的采访，她那些诸如“你怎么不搞笑了呢？”之类的尖锐问题，则迫使他重新审视自己的过去，自己的生活和事业。两人在朝夕相处之间，似乎也生出不一样的情愫。

Henry and Maggie attend the birthday party of a local publisher, where his son and stepson reenact a historical 18th century dual. Someone, however, has loaded the antique pistol with a real musket ball, so when son pulls the trigger, he kills his stepbrother in front of a roomful of witnesses. Henry and Maggie have to figure out who wanted the stepson dead and why.

Manolo is a famous singer who has a brief affair with Diana, a beautiful hitchhiker. Diana becomes pregnant and gives birth to a child, Lito, the Manolo ignores their existence. Seven years later, Diana wants her son Manolo meet and therefore decided to look for him. However, when he is suffering a great disappointment because Manolo does not remember her. One person who remembers the father Manolo, who follows that Lito is his grandson and both plan unite Manolo and Diana.

Making good on a promise he made to his dying wife, a widower (Jones) opens a reading room, a place where people can learn to read. Despite his goodwill, problems in the neighborhood threaten his establishment.

The film is not only a nod to Lettrist and Structuralite films in terms of its form and content; It was while thinking of the Flux Films series initiated by George Maciunas that the original idea for this film came to me. It had to be short, concise and in black and white. I had for some time had a fascination with the figures, the accounts and the texts used for the production of the credits made on ban-titles and which, after several generations take a slight overexposure. The film was set up with the references it actually generated.