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Leila (’Lauren Lee Smith’ (qv)) is a sexually voracious young woman who connects with men through brief physical encounters. One night at a crowded house party, Leila meets David (’Eric Balfour’ (qv)) and its lust at first sight. Later, as she has casual sex with a stranger just behind the house, David and his girlfriend mirror her actions in their car. Leila and David’s eyes lock as they watch each other having sex with others, a courtship ritual that initiates their own sexual affair. Seduction is easy and very satisfying. Leila and David get to know each other — which means being intimate — in bed, at the park, on the roof, everywhere. For them, and for other members of their generation, sex is a form of communication. But Leila starts to realize that her attachment to David is different from anything she’s experienced before, and David is just as serious about her. For the first time, they experience needs and desires that go beyond the physical. It is an emotional connection they crave. Afraid of the feelings they have unleashed in each other, they retreat to the safety of their former lives. Real life, and the messiness of emotional attachments, have punctured their sexual and romantic bubble and threaten to keep the lovers apart. David’s father dies after a long illness and he turns to his ex-girlfriend for support. Leila, meanwhile, is distracted by her parents’ looming divorce. Leila and David are trapped between two worlds. Anonymous sex, or sex without context, is losing its appeal. But a conventional approach to commitment - marriage and the seemingly inevitable divorce that follows, as evidenced by Leila’s parents — is not the answer. They set out to find a way to build lust and love, spontaneity and substance, into a new life together.

A boy declares his love for his girlfriend, only to die the same night. He is brought back to life by his mother as a flesh-craving zombie, who sires more teen undead while trying to control his, er, appetite for his beloved.

Late at night, in an unnamed U.S. city, a solitary man sits at a bus stop. A pregnant woman runs by, pursued by a man with a gun. With reluctance, the man at the bus stop rescues her and assists with the baby’s delivery, while additional pursuers fire at them, including the gang’s particularly nasty leader, an intuitive man named Hertz. Our hero, known only as Smith, determines to save the child and find out why Hertz wants the baby dead. At a local bordello, he tries to employ a lactating hooker to watch the child, but things quickly escalate, and this makeshift family is soon on the run. Heavy metal music calms the baby. Why? A laboratory, a gun factory, and a presidential campaign all figure in Smith’s search for the child’s ultimate safety.

Kazakhstani TV personality Borat is dispatched to the United States to report on the “greatest country in the world.” With a documentary crew in tow, Borat becomes more interested in locating and marrying Pamela Anderson than on his assignment.

A parody of modern horror films about a group of teenagers who are being terrorised by a serial killer. Some of the send-ups include: “Scream”, “I Know What You Did Last Summer”, “The Blair Witch Project”, “The Sixth Sense” and “The Matrix”.

A dark tale based on the true story of Aileen Wuornos, one of America’s first female serial killers. Wuornos had a difficult and cruel childhood plagued by abuse and drug use in Michigan. She became a prostitute by the age of thirteen, the same year she became pregnant. She eventually moved to Florida where she began earning a living as a highway prostitute—servicing the desires of semi-truck drivers. The tale focuses on the nine month period between 1989 and 1990, during which Wuornos had a lesbian relationship with a woman named Selby. And during that very same time, she also began murdering her clientele in order to get money without using sex. This turned the tables on a rather common phenomena of female highway prostitutes being the victims of serial killers—instead Wuornos, herself, carried out the deeds of a cold-blooded killer.

At a high-school party, four friends (Jim, Kevin, Finch, and Oz) find that losing their collective virginity isn’t as easy as they had thought. But they still believe that they need to do so before college. To motivate themselves, they enter a pact to try to be the first to “score.” And of course, the senior prom is their last best chance. As the fateful date draws near, the boys wonder who among them will get lucky. More importantly, do they really want to do it at all?

Cooper and Ed are brothers: Coop acts, in ads and soaps, spending his real energy chasing women for one-night stands. His younger brother Ed, an earnest young man, works in an ad agency. For the past year, since finding his girlfriend in bed with another man with a video camera running, Ed has been in a funk: he’s carried a torch, his social life has tanked, and his work has suffered. Ed will be fired on Monday unless he can save a major account. It’s his birthday weekend: he wants to work, but Cooper wants Ed to rediscover his sex life. Cooper works hard to help Ed score, but disaster piles on disaster. Can a decent guy save his job and get a life?

Jerry and Nick are two best buddies whose love lives have hit rock bottom, Jerry’s especially, having just vomited all over his fiancé on a hot air balloon trip prior to proposing to her. To escape their troubles and find women, they book a trip on board a cruise-liner, unaware the travel agent has just played a horrid trick on them in retaliation for Nick offending his secret gay lover. And that’s the trick; it’s a gay cruise-liner for gay men to meet and mingle. Slowly but surely, the two main characters begin to realize this and in turn get into a lot of humorous predicaments.

When her rather explicit copy is rejected, magazine journalist Kate is asked by her editor to come up with an article on loving relationships instead, and to do so by the end of the day. This gets Kate thinking back over her own various experiences, and to wondering if she is in much of a position to write on the subject.