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Crime Scene

Set in Jaffa/Tel Aviv artist Michal Heiman contemplates time and cigarettes, while writer Yehouda Shenhav discusses Arabic poetry. A mix of detective story and personal narrative 'Crime Scene' departs from the dense collage of earlier works to contemplate narrative dead ends that nonetheless evoke deeper meanings. Tel Aviv streets, Palestinian women taking selfies, the writing of 20th century poet Zelda, a turbulent sea and bleak petrol stations tell a story of the occupation and its resistance.

Crime Scene

NR 2018
Voodoo Moon

Voodoo Moon takes place in the mid-west United States, where a demonic figure murders the entire population of a small town, save for one young boy and his sister. Twenty years later, the boy has been consumed with trying to track the devil down and now he thinks he's found him. His sister is now an artist who has developed psychic abilities which enable her to sense disaster, visions she expresses in her art. The two siblings work together in fighting the devil, and also get the assistance of several people they have helped over the years

Voodoo Moon

4.2 2006
An Innocent Man

Jimmie Rainwood was minding his own business when two corrupt police officers (getting an address wrong) burst into his house, expecting to find a major drug dealer. Rainwood is shot, and the officers frame him as a drug dealer. Rainwood is convicted of drug dealing, based on the perjured evidence of a police informant. Thrown into a seedy jail, fighting to prove his innocence is diffucult when he has to deal with the realities of prison life, where everyone claims they were framed.

An Innocent Man

6.2 1989
Assassins

This darkly satirical musical reframes American history through the eyes of those who attempted – successfully or not – to kill US presidents. Structured as a surreal carnival sideshow, the piece weaponises American musical traditions – vaudeville, folk ballads, barbershop quartets, patriotic Sousa-style marches and Bacharach pop – to undercut the myth of the “American Dream,” exposing how frustration, alienation and entitlement can curdle into violence. By giving voice to figures from John Wilkes Booth to Lee Harvey Oswald, Assassins invites audiences not to condone their acts but to confront the unsettling continuity between personal disillusionment and national mythology, turning the musical stage into a mirror for America’s darkest obsessions.

Assassins

NR 1990