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THE PERVERT’S GUIDE TO CINEMA takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. THE PERVERT’S GUIDE TO CINEMA cuts its cloth from the very world of the movies it discusses; by shooting at original locations and from replica sets it creates the uncanny illusion that Zizek is speaking from ‘within’ the films themselves. Together the three parts construct a compelling dialectic of ideas. Described by The Times in London as ‘the woman helming this Freudian inquest,’ director Sophie Fiennes’ collaboration with Slavoj Zizek illustrates the immediacy with which film and television can communicate complex ideas. Says Zizek: ‘My big obsession is to make things clear. I can really explain a line of thought if I can somehow illustrate it in a scene from a film. THE PERVERT’S GUIDE TO CINEMA is really about what psychoanalysis can tell us about cinema.’

The wife of a barbaric crime boss engages in a secretive romance with a gentle bookseller between meals at her husband’s restaurant. Food, colour coding, sex, murder, torture and cannibalism are the exotic fare in this beautifully filmed but brutally uncompromising modern fable which has been interpreted as an allegory for Thatcherism.

The future seems bright for Kevin Burke (Ulrich), a security expert for the large multi-national company Jorgensen Financial. He’s just been promoted and is about to propose marriage to his girlfriend Rosalind (Catherine Orr). But that all changes when Rosalind is murdered before his eyes by a professional hitman. While tracking down her killers Kevin finds himself chased by mob hit-woman Tessa (Kristy Swanson), his co-workers Junior (Antonie Kamerling) and Mr Ficks (Serge Henri Valcke) and the police (Thom Hoffman). Burke’s mentor and employer Karl Jorgensen (Derek de Lint), enigmatic though supportive, seems to hold the key to the mystery.

In 1933, after leaving Dogville, while traveling with her father (Willem Dafoe) and his gangsters to the south of USA, Grace Margaret Mulligan (Bryce Dallas Howard) sees a slave ready to be punished in a property called Manderlay. The slavery had been abolished seventy years ago, and Grace becomes revolted with the attitude of the owners of Manderlay, keeping slaves in their cotton fields and following predetermined despicable rules called “Mam’s Law”. Grace decides to stay with some gangsters in Manderlay and give notions of democracy to the slaves and to the white family. When harvest time comes, Grace sees the social and economical reality of Manderlay.

When a man is murdered in Moscow, experimental bionic research brings him back to life. He then sets out to find his murderers and money that was stolen during the crime.

Set in the New York club scene of the late 1980’s thru the 1990’s, a tale which chronicles the rise and fall of club-kid promoter ‘Michael Alig’ (qv), a party organizer, whose extravagant life was sent spiralling downward when he boasted on television that he had killed his friend, roommate, and drug dealer, Angel Melendez. Originally from Indiana, Alig moved to New York, and came to be an underground legend, known for his excessive drug use and outrageous behavior in the club world. At his peak, he had his own record label, and magazine, and hosted Disco 2000, one of the biggest club nights in New York in the ’90s. He was doing a lot of drugs, and as his addiction got worse, his party themes became darker and more twisted. Alig’s saga reached its tragic crescendo when he viciously murdered his drug dealer, Angel, by injecting him with Drano and throwing him in the East River. The power he wielded on the club scene made him feel untouchable, so he didn’t hestitate to boast of the murder. The press thought it was a publicity stunt—until Angel’s body washed ashore.

Alexander (Farrell), the King of Macedonia, leads his legions against the giant Persian Empire. After defeating the Persians he leads his Army across the then known world venturing further than any Westerner had ever gone all the way to India.

Intrepid British archaeologist Lara Croft (Angelina Jolie) has made perhaps the most important archaeological discovery in history: an orb that leads to the mythical Pandora’s Box. Unfortunately, the orb falls into the hands of Jonathan Reiss (Ciarán Hinds), an evil scientist who deals in killer viruses and hopes to sell the secrets of the box as the ultimate weapon. Recruited by British Intelligence to get the orb back from Reiss, Lara recruits Terry Sheridan (Gerard Butler), a British marine turned mercenary (and her former love interest) to help. The two embark on an adventure that spans continents in an attempt to regain the orb…

In 1501, in the Western Europe, in a period when the black plague is jeopardizing the populations, an army of mercenary peasants leaded by Martin (Rutger Hauer) fights side-by-side with the noble Arnolfini (Fernando Hilbeck) to retrieve his castle, with the promise of a huge reward. However, the band is betrayed by Arnolfini, and decides to pay him back, assaulting and stealing a caravan under the command of Arnolfini and his son and student, Steven (Tom Burlinson). In one of the wagon is traveling the fiancée of Steven, Agnes (Jennifer Jason Leigh), who is accidentally kidnapped and later raped by the group. Agnes becomes Martin’s mate, and the mercenaries decide to invade a castle, without knowing that the army of Arnolfini is chasing them.

Ken Park focuses on several teenagers and their tormented home lives. Shawn seems to be the most conventional. Tate is brimming with psychotic rage; Claude is habitually harassed by his brutish father and coddled, rather uncomfortably, by his enormously pregnant mother. Peaches looks after her devoutly religious father, but yearns for freedom. They’re all rather tight, or so they claim. But they spend precious little time together and none of them seems to know much about one another’s family lives. This bizarre dichotomy underscores their alienation # the result of suburban ennui, a teenager’s inherent sense of melodrama, and the disturbing nature of their home environments.