A noi ci dicono

1980年代初頭、シチリアではマフィアの全面戦争が激化していた。パレルモ派の大物ブシェッタは抗争の仲裁に失敗しブラジルに逃れるが、残された家族や仲間達はコルレオーネ派の報復によって次々と抹殺されていった。ブラジルで逮捕されイタリアに引き渡されたブシェッタは、マフィア撲滅に執念を燃やすファルコーネ判事から捜査への協力を求められる。麻薬と殺人に明け暮れ堕落した犯罪組織コーザ・ノストラに失望していたブシェッタは、固い信頼関係で結ばれたファルコーネに組織の罪を告白する決意をするが、それはコーザ・ノストラの ”血の掟” に背く行為だった……。仁義なき抗争の果てに、名誉ある男の美学を貫こうとブシェッタが下した決断とは−−。

Sicilian photojournalist Letizia Battaglia began a long battle against the ruthless Cosa Nostra when she first photographed the sinister scene of a brutal murder. Documenting the barbaric rule of the Italian Mafia, she was an unwavering witness to its crimes. His art and courage helped end the horrific and bloody reign of the Corleonesi clan.

The multigenerational saga of the rise and fall of the Corleone crime family. Story is told in chronological order, and numerous scenes that were deleted from each film have been restored.

While Arturo tries to gain the love of Flora, he witnesses the history of Sicily from 1969 to 1992, miraculously dodging the crimes of the Mafia and supporting as a journalist the heroic struggle of the judges and policemen who fought this infamous organization.

As Garibaldi's troops begin the unification of Italy in the 1860s, an aristocratic Sicilian family grudgingly adapts to the sweeping social changes undermining their way of life. Proud but pragmatic Prince Don Fabrizio Salina allows his war hero nephew, Tancredi, to marry Angelica, the beautiful daughter of gauche, bourgeois Don Calogero, in order to maintain the family's accustomed level of comfort and political clout.

Egocentric bandit Salvatore Giuliano fights the Church, the Mafia, and the landed gentry while leading a populist movement for Sicilian independence.

留学先のベルギーで大失恋し、今は母国インドのTV報道局で働くジャグー（アヌシュカ・シャルマ）は、ある日地下鉄で黄色いヘルメットを被り、大きなラジカセを持ち、あらゆる宗教の飾りをつけてチラシを配る奇妙な男(アーミル・カーン）を見かける。チラシには神様の絵に「行方不明」の文字。興味を持ったジャグーはその男を取材することに。「この男はいったい何者？なぜ神様を捜しているの？」しかし、彼女が男から聞いた話は、にわかには信じられないものだった―。自分の人生に迷うすべての現代人に贈る、笑いと涙の珠玉のドラマ。

The true story of Peppino Impastato, an activist who openly opposed the Mafia in small-town 1970s Sicily despite living just "one hundred steps" away from notorious Mafia boss Tano Badalamenti.

Good hearted but not very wordly-wise, Dante is happy driving the school bus for a group of mentally handicapped children, while feeling he is somehow missing out on life and love. So he is very excited when after nearly being knocked down by her car he meets Maria, who seems immediately enamoured of him. He is soon invited to her sumptuous Palermo villa, little suspecting that this is part of a plot. He bears an amazing likeness to Maria's stool-pigeon gangster husband and it would be convenient for them if the mobster, in the shape of Dante, was seen to be dead and buried.

Palermo, Sicily, 1984. Examining magistrate Giovanni Falcone allies with Tomasso Buscetta, a former mobster, to defeat the clan of Corleone, the ruthless Mafia faction that rules Cosa Nostra with an iron hand, cruelly eliminating all those who dare to oppose its immense power: other criminals, policemen, judges, even innocent civilians. One of them wants revenge, the other wants justice. But only one can survive such an unequal fight.

シシリーのある家で、サルヴァトーレ・ジュリアーノという若者の射殺死体が発見された。当局の調べによって、彼はマフィアの一員であったことが判明する。そして、彼の過去を調べていくうち、証人が殺されていく。1950年に実際に起こった事件を、社会派F・ロージがドキュメンタリー・タッチで綴ったマフィア映画。

Young men with no future have little in the present as well. Natale is released from prison: he takes up with his friends again but none can find work. Claudio, from Palermo, gets out of juvenile detention in Naples and he's met by Vita, a girl who's come from home to run away with him. Where can they go? A young dad, whose potato stall at the market is shut down because he has no permit, takes his two small children to the beach and yells at them. Mario, gay, a prostitute in drag, gets a visit from his mom; he offers tea, then finds the water to his apartment is shut off. Social workers drop by, parole officers file reports. What hope is there? What options besides crime?

What happens when western anthropologists descend on the Amazon and make one of the last unacculturated tribes in existence, the Yanomami, the most exhaustively filmed and studied tribe on the planet? Despite their "do no harm" creed and scientific aims, the small army of anthropologists that has studied the Yanomami since the 1960s has wreaked havoc among the tribe - and sparked a war within the anthropology community itself.

Palermo, Sicily, November 1925. Cesare Mori, the new prefect of the city, soon to be known as the Iron Prefect, begins a ruthless war against the Mafia, a sinister organization that has subjugated the island for centuries, something that the dictator Benito Mussolini and the fascist authorities can no longer allow.

THE PERFUMED GARDEN is an exploration of the myths and realities of sensuality and sexuality in Arab society, a world of taboos and of erotic literature. Through interviews with men and women of all ages, classes, and sexual orientation, the film lifts a corner of the veil that usually shrouds discussion of this subject in the Arab world. Made by an Algerian-French woman director, the film begins by looking at the record of a more permissive history, and ends with the experiences of contemporary lovers from mixed backgrounds. It examines the personal issues raised by the desire for pleasure, amidst societal pressures for chastity and virginity. The film discusses pre-marital sex, courtship and marriage, familial pressures, private vs. public spaces, social taboos (and the desire to break them), and issues of language.

Director Drew Stone’s The New York Hardcore Chronicles Film is an incredible journey through the community and culture of the iconic New York hardcore scene. Not the typical history of a local music scene but so much more. Shot in an episodic format, the film contains over 60 interviews, never before seen footage, photos and a blazing soundtrack. With appearances by Roger Miret & Vinnie Stigma (Agnostic Front), Lou Koller, Craig Setari (Sick Of It All), Ray Cappo (Youth Of Today), Billy Graziadei (Biohazard), Billy Milano (S.O.D. / M.O.D.) and Mike Judge (Judge). The film addresses the community, culture, straight edge and DIY ethic of the hardcore scene in the greatest city in the world that is still vibrant, relevant and going strong to this day.

January 6, 1980. The President of the Sicilian Region Piersanti Mattarella is going to Mass with his family. A young man approaches the car window and shoots Piersanti in cold blood and kills him. Despite the confusion of the moment with a series of misdirections towards left-wing terrorism, the crime appeared anomalous in its modalities. The young Deputy Prosecutor on duty, that day of the Epiphany, will be Pietro Grasso, future Anti-Mafia Prosecutor and President of the Senate. The investigations will be continued by the Instructor Judge Giovanni Falcone, who will uncover dangerous relationships between the Mafia, Politics, Nar and neo-fascists, the Magliana gang, Gladio and Secret Services.

The Ciraulo family lives in the miserable district of Palermo called "Zen". When one of their children dies in a shootout between mafia gangsters they receive compensation and buy a luxury black Volvo. Things go wrong when Trancredi, another son, takes the car out and damages the car door.

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.