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Rachael Newman has developed an interest for murders after she met psycho Patrick Bateman. To further study the subject, she enrolls at the university department for Behavioural and Social Sciences, under the expert leadership of ex-FBI man Robert Starkman. Very certain about herself, Rachael has one single goal: to become class assistant. It’s a prestigious job as having that position will almost guarantee employment at the FBI. But becoming class assistant is no easy task to accomplish, as the first trouble arises when secretary Gerty Fleck decides she is too young for it. And Gerty Fleck won’t be the only obstacle.

Matt Saunders (Luke Wilson) thought his luck had just changed when he start dating Jenny Johnson (Uma Thurman). But what he doesn’t know is he is going out with New York super-hero G-Girl. When he breaks it of with her for his work partner Hannah (Anna Faris) G-Girl makes his life hell.

Miranda Priestley, of “Runway” magazine tears up the landscape as a demanding fashion editor. She is a terror to everyone who is around her as is quickly depicted in the opening scenes of the movie. Her first assistant strives to please her and tries to emulate her, but one can sense that she is not quite as hard as she tries to put on. Into this mix comes a young woman who knows nothing of the fashion industry, has never read the magazine, and doesn’t know who Miranda Priestley is. She only sees this as a stepping stone to another journalism position. Showing no fashion sense and immediately scorned by everyone, Miranda nonetheless hires her as the second assistant. When Miranda demands that she obtain the next unpublished Harry Potter manuscript, you can sense that she is trying to force her to quit, but it makes the young woman dig in to please her boss. With the help of one of the magazine’s fashion editors, she gets a complete makeover and a new security. However, with her new appearance and the demands placed on her, she starts to lose her friends, family and her live-in boy friend. As she is whisked away to Paris with Miranda and faces all of the glamor that could be hers, including a flashy if not artificial freelance journalist, she is forced to make the decision of where she wants to be in her life.

Massoud Amir Behrani, an Iranian immigrant, has spent most of his savings trying to enhance his daughter’s chances of a good marriage. Once she is married, he spends the remaining funds on a house at an auction, unwittingly putting himself and his family in the middle of a legal tussle with the house’s former owner. What begins as a legal struggle turns into a personal confrontation, with tragic results.

Christian, a young wannabe Bohemian poet living in 1899 Paris, defies his father by joining the colorfully diverse clique inhabiting the dark, fantastical underworld of Paris’ now legendary Moulin Rouge. In this seedy but glamorous haven of sex, drugs and newly-discovered electricity, the poet-innocent finds himself plunged into a passionate but ultimately tragic love affair with Satine, the club’s highest paid star and the city’s most famous courtesan. Their romance is played out against the infamous club - a meeting place of high life and low, where slumming aristocrats and the fashionably rich mingled with workers, artists, Bohemians, actresses and courtesans.

Set in the 1930’s the story takes place in an old fashioned English country house where a family has invited many of their friends up for a weekend shooting party. The story centers around the McCordle family, particularly the man of the house, William McCordle. Getting on in years William has become benefactor to many of his relatives and friends. As the weekend goes on and secrets are revealed, it seems everyone, above stairs and below, wants a piece of William and his money, but how far will they go to get it…?

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.

An inksetter in New York, Quoyle returns to his family’s longtime home, a small fishing town in Newfoundland, with his young daughter, after a traumatizing experience with her mother, Petal, who sold her to an illegal adoption agency. Though Quoyle has had little success thus far in life, his shipping news column in the newspaper “The Gammy Bird” finds an audience, and his experiences in the town change his life. Then he meets the widow Wavey…

When Pete (Eldard), one of five friends who share an Iowa house, invites Zack (Paxton), a man who gave him a lift home in for supper, the night turns suddenly sour when Zack irrationally attacks Pete, but is killed by the other friends. After this episode, the friends suggest that, having ridden the world of one bad person, they should continue to do the same thing every Sunday night at supper.

In the not-so-far future the polar ice caps have melted and the resulting raise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching to the point of creating realistic robots (called mechas) to serve him. One of the mecha-producing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his “mother”, Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically. A futuristic adaptation of the tale of Pinocchio, with David being the “fake” boy who desperately wants to become “real”.