Together with Pandora's Box (1928), Diary confirmed Pabst's artistry as one of the great directors of the silent period and established Brooks as an "actress of brilliance, a luminescent personality and a beauty unparalleled in screen history" (Kevin Brownlow, The Parade's Gone By). Brooks, in a delicately restrained performance, plays the naïve daughter of a prosperous pharmacist. Shy and faunlike, the wide-eyed innocent is made pregnant by her father's young assistant. To preserve family honor, she is sent to a repressive reform school from which she eventually escapes. Penniless and homeless, she is directed to a brothel where she becomes liberated and lives for the moment with radiant physical abandon. This Kino on DVD version of Diary of a Lost Girl has been mastered from a new restoration of the film, made by the Bologna Cinematheque, which adds approximately seven minutes of previously censored footage never seen in the United States. An evocative new score has been added by Joseph Turrin.

It's love at first sight when bridesmaid Senta falls into the life of a handsome young Phillipe at the wedding of his younger sister. As their passion for one another intensifies, Phillipe slowly discovers that Senta is shrouded in mystery.When one day she asks Phillipe to performa a terrible deed as proof of his love for her,Phillipe must come to terms with who his lover might really be.

Tells the story of a seven-year-old boy growing up in liverpool during the 1930s. As he prepares to make his first communion young liam tries to make sense of the complex and unsettled world around him a world that is about to change forever due to economic political and social upheaval. Studio: Lions Gate Home Ent. Release Date: 02/06/2007 Starring: Ian Hart Anne Reid Run time: 91 minutes Rating: R Director: Stephen Frears

Jean (Pascal Greggory), a successful publisher, is acutely aware of and deeply pleased with his high social standing, fine taste, and abundant material possessions, among which he seems to include his wife, Gabrielle (Isabelle Huppert). But in a single af

Hungarian auteur Bela Tarr's 7-hour, black-and-white epic based on the novel by Laszlo Karsznahorkai took two years to film. The complex story follows a group of people living in a dilapidated village in post-communist Hungary. Tarr examines their standstill lives through a series of episodes told from each person's point-of-view. Winner of the Caligari Film Prize and the Ecumenical Jury Prize Special Mention at the 1994 Berlin International Film Festival. In Hungarian with optional English subtitles. Includes Macbeth (1982, 64 mins.), Tarr's rarely seen interpretation of Shakespeare's tragedy famously captured in two shots; Journey on the Plain (1995, 34 mins.), in which actor-composer Mihaly Vig revisits the Satantango locations; Prologue (2004, 5 mins.), the director's stunning contribution to the omnibus Visions of Europe; About the Restoration (5 mins.); and a Facets Cine-Notes booklet.

From the Director of Russian Ark and Mother and Son, Alexander Sokurov, comes Father and Son. Following in the footsteps of his beloved father, Alexei attends military school. There, he begins dating a young woman, who becomes increasingly jealous of the intense relationship between the father and son.

Four tough women in a German penitentiary join forces to form a rock band. When administrators take them to perform at a policeman's ball, the prisoners escape, kidnapping a convenient boy-toy hostage (Werner Schreyer), along the way. Their band, Bandits, becomes a national sensation as the women continue to evade the police. The movie is a wild ride, with quite a respectable score of rock songs--some catchy, some haunting--composed and performed by Bandits members themselves. All are sung in English (which seems to be the universal language of rock & roll). But although the picture is a lot of fun, it's no Spice World; there's a harder edge, a deeper agenda here. These women were all prisoners for a reason. Each fugitive's story is gradually revealed as the plot progresses. Luna (sultry Jasmin Tabatabai), the lead singer and guitarist, is a loose canon with a real attitude problem. And she likes to rob banks. Emma (Katja Riemann), the brains of the group, had a successful jazz career in America before her abusive boyfriend drove her over the edge. Marie (Jutta Hoffmann), the band's middle-aged keyboard player, is suicidal: something to do with her involvement in her husband's death. Angel (lovely Nicolette Krebitz), is the team's weak link; she can't be trusted. As the Bandits pull off each increasingly improbable narrow escape, the film takes on the radiance of myth, ascending ultimately to an apocalyptic finale. --Laura Mirsky

Nelly (Emmanuelle Béart), a young married woman disillusioned with life and her self-unemployed husband, meets Monsieur Arnaud (Michel Serrault), an older, retired judge and businessman, through a mutual friend. The two begin a subtle, undefined relationship that leaves them in the end changed a little more profoundly than either expected. Monsieur Arnaud offers Nelly a considerable sum of money to pay her debts, no strings attached. Along with the money she accepts a job assisting Arnaud in writing his memoirs. As the writing progresses, Nelly comes to know the morally ambiguous past of her employer, and Arnaud contends with awakened feelings of longing. It ends abruptly when Arnaud and his ex-wife decide to tour the world on their way to Seattle, where he will see his estranged son. The French seem to have a talent for ambiguity and subtlety that this film shows off at its best. The relationship between the young woman and the older man is wonderfully intriguing in the way it plays out and changes each of them, and even more wonderful in that they never wind up in bed together. Béart and Serrault give flawless, nuanced performances as two people caught in each other's longing. A quiet and deeply satisfying film. --James McGrath

Fabria, prosecuted in Iran because of her love affair with another woman, flees to Germany. Her application for asylum is turned down-but her desperate prospects are improved by the suicide of her fellow inmate Siamak. She assumes his identity and, using his temporary permit of sojourn, heads off to a provincial village. At first glance, her survival seems to be assured, but in the refugee hostel, she is obliged to uphold her male disguise in cramped quarters and a single mistake could blow her cover. In order to pay for forged documents, she takes an illegal job in a sauerkraut factory, where she meets Anne, who is very solicitous about Siamak’s well-being and derives some kind of pleasure from the strange foreigner. While spending more and more time together, they become dangerously close and Anne begins to suspect Fariba’s true identity, and Fariba’s fate falls into danger when she is faced with being forced to return to Iran.