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UN DIA SIN SEXO is a day in the life of four Peruvian couples of varying ages and backgrounds as they struggle over issues between the sheets. This is a lighthearted comic look at the pitfalls of sex in relationships, whether the couples are young and hot to trot, or a little bit older and less full of fire. Either way, these lovers find themselves in all sorts of hilarious scenarios that speak to the voyeurs among us.

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In this Mexican comedy classic, Tin-Tan and El Zorrillo are the same person and Lupe has fallen in love with the latter. But when Don Martin and his workers are jailed by the evil Don Gaspar, it's up to El Zorrillo to save the day.

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Young and in love, newlyweds Helene (Mary Johnson) and Sommer (William Dieterle, who also directed) endure an enforced separation when the accidental death of a nightclub owner--who was harassing Helene and incurred her husband's wrath--lands Sommer in jail. There his sexual longing finds other outlets in the absence of women, namely with a handsome young cellmate. Meanwhile, Helene aches for the comfort of her husband's embrace, and she finds solace in the arms of her kind employer. Exemplary of the creative freedom and unfettered cultural mores of Germany's Weimar period, this gem of the silent period was later banned under Nazi law. Dieterle's treatment of his subject matter is remarkable both for its lack of inhibition and its mixture of melodrama and eroticism with genuine tenderness. The stunning photography, craft, and restrained, subtle performances make this film an enduring masterpiece.

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An epic tale of one of the greatest rulers of India, ASOKA is a testament to the redemptive power of love. Asoka inherited India's throne in third century B.C. The Indian dynasty was poised to conquer the entire peninsula and the king began his reign by leading the charge. However, the emperor found greater meaning in the love of two women and was soon transformed, renouncing warfare and adopting the principles of the Buddha. This 2001 Indian biopic of the peaceful leader is a work of great political and dramatic significance.

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THE SISSI COLLECTION includes the trilogy of romantic films about the Austrian princess: SISSI, THE YOUNG EMPRESS, and SISSI: THE FATEFUL YEARS OF THE EMPRESS. The three movies follow the adventures of Sissi and her husband Kaiser Franz Josef (Karl Heinz Böhm). Romy Schneider (WHAT'S NEW PUSSYCAT, TRIPLE CROSS), stars as the young princess, who has to endure the frustrations of court life in Vienna and a difficult mother-in-law. This popular series of costume dramas was directed by Ernst Marischka (SEASON IN SALZBURG), and this collection also includes two of his other movies, THE STORY OF VICKI and FOREVER MY LOVE.

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The popular South Korean mini-series DAE JANG GEUM (aka JEWEL IN THE PALACE) earned that country's highest-ever television ratings with an epic blend of historical and personal intrigue. Based on a true story, the period-piece costume drama centers on its titular heroine, Jang-geum (Yeong-ae Lee), a 16th-century orphan girl who enters the king's royal court as a lowly kitchen maid. When the political machinations of an evil duchess send Jang-geum into exile, she leaves to study medicine and triumphantly returns to the palace as the King's personal physician. Bolstered by strong acting, gripping plotlines, and well-drawn characters, the series' most remarkable achievement remains the lavish, detail-rich production design that presents a historically accurate depiction of 16th-century Korean history, culture, and politics--as well as mouthwatering cooking sequences a la BABETTE'S FEAST. This third volume concludes the series with episodes 37-54.

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A police officer loses his colleague in an intense operation to bump off a gangster kingpin, leading to a botched operation, and a killer on the lose. After ten years pass, the deceased officer's kids grow up, and decide to take on the task of seeking vengeance for their father.

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In the midst of World War II, as the tide turns against the Axis, a German U-boat crew is sent out to patrol the Atlantic and fire at Allied ships bringing supplies to England. The submarine also carries a press correspondent, there to report from the front lines of nautical warfare. Meanwhile, the crew's captain (Jürgen Prochnow) is becoming disillusioned with the Nazi regime and with war in general. What starts out as a routine mission is soon livened up beyond the crew's expectations when their boat's surprise attack on a convoy is thwarted by a fast-moving destroyer. Battered by depth charges, the crew must pull together to survive the attacks of their unseen enemy. Widely considered to be director Wolfgang Petersen's best film and one of the finest German films ever made, DAS BOOT is stunningly realistic in its portrayal of the cramped conditions aboard a German submarine. Based on a novel by Lothar G. Buchheim, it is a striking example of an intelligent antiwar film clothed in the guise of a military thriller.

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This Academy Award-winner for Best Foreign Language Film was a big art house hit, spawning a whole international subgenre, "foodie" (films about the liberating effects of good food). It's adapted from a story by Isak Dinesen about two sisters in a 19th century Calvinist settlement in Denmark who, under their late father's rigorous spiritual dictates, pass up their chances for romance and worldly success. Years pass; they grow into charitable old spinsters and one day a French war refugee, Babette (Stéphane Audran), comes to work for them. Life goes quietly one for years until one day Babette decides to prepare a lavish gourmet dinner for the elders of the town, even though the thought of such decadence makes the sisters fear for their Christian souls. This all may sound rather dull to some viewers, but rest assured, no one who has seen this film has ever regretted it. Even with its measured pacing and austere emotional palette this remains a riveting experience from the first frame to the last. The acting is marvelously naturalistic, and the cinematography evokes the dark beauty of 19th century Scandinavian paintings, rendering the ancient, white-whiskered faces of the villagers, the windswept coastline, the wood-hewn interiors, and of course the incredible food, with a vital, deeply felt reverence that lingers in the mind long after the film is over.

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Spanish actress turned director Laura Mana delivers an enchanting fable, by turns funny and achingly poignant, and seasoned with a bit of magical realism. Opening in black-and-white and set in a dull, drab Mexican town, the inhabitants of the film are beset by a bad case of the doldrums: the kids are taciturn, the adults are listless, and the elderly are afflicted. Among them, Dolores (Elisabeth Margoni, LOVE, ACTUALLY) stands out as a pious, big-hearted, and lovable woman, but her husband leaves her because he finds her undiluted goodness difficult to stomach. Shocked, hurt and angry, Dolores goes to bed with the first man who asks her, and soon she is providing all of the love-starved men of the town with the intimacy they have been missing. The changes are immeasurable and color is brought back into the lives of all the villagers, until problems arise in the form of the local prostitutes whose business has been hurt. Dolores's husband also returns and demands a stop to her behavior, forcing Delores to make a difficult decision. Mana delivers a beautiful, life-affirming, feminist take on the conservative mores of small-town life.

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An international cast of beauties brings cosmopolitan flavor to what could have been a typical melodrama. Adapted from the best-selling novel by Peruvian author Jaime Bayly, LA MUJER DE MI HERMANO (English translation--MY BROTHER'S WIFE) is a soap-operatic tale, complete with adulterous transgressions, hysterical breakdowns, devastating betrayals, and a shocking finale. Stunning Uruguayan actress Barbara Mori is the focal point of this Byzantine affair, entrancing viewers with her nuanced performance as Zoe. In the tradition of those Douglas Sirk heroines who made it a gorgeous act to suffer quietly, Zoe is wildly unhappy and frustrated with her dying marriage to Ignacio (Peruvian soap star Christian Meier). Not content to remain isolated in her high-class Mexico city apartment--a stylishly cold fortress of minimalist design and shiny surfaces--Zoe seeks out Ignacio's estranged brother Gonzalo (Colombian hunk Manolo Cardona). A volatile artist, Gonzalo is a man of sensations and extremes, thus serving as the perfect antidote to Zoe's dull, stale life. The two strike up the inevitable passionate affair, but what follows is as unexpected as the set-up is standard. Zoe's transgression leads not only to her debilitating Catholic guilt, but also to a revived relationship between the brothers, whose new communication brings a startling revelation about the past. Peruvian director Ricardo de Montreuil leads this production with a sure hand, eliciting performances more complex than in the typical soap opera. Though it can veer toward slightly over-the-top melodrama, the film is too intelligently written and acted to be passed off as fluff, and instead is a serious, deep look into the eternal problems of love, sexuality, and betrayal.

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$36
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The popular South Korean mini-series DAE JANG GEUM (aka JEWEL IN THE PALACE) earned that country's highest-ever television ratings with an epic blend of historical and personal intrigue. Based on a true story, the period-piece costume drama centers on its titular heroine, Jang-geum (Yeong-ae Lee), a 16th-century orphan girl who enters the king's royal court as a lowly kitchen maid. When the political machinations of an evil duchess send Jang-geum into exile, she leaves to study medicine and triumphantly returns to the palace as the King's personal physician. Bolstered by strong acting, gripping plotlines, and well-drawn characters, the series' most remarkable achievement remains the lavish, detail-rich production design that presents a historically accurate depiction of 16th-century Korean history, culture, and politics--as well as mouthwatering cooking sequences a la BABETTE'S FEAST. This second volume continues the series with episodes 19-36.

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$36
 

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A hit across the globe, bachata boy-band Aventura leave their adoring fans breathless in this sold-out concert at New York's Madison Square Garden. Joined onstage by a dazzling array of surprise guests--including Miri Ben-Ari, Olga Tanon, El Torito, Toby Love, and Anthony Santos--this live performance features knockout renditions of the songs "Obsesion," "No no no," "Ella y yo," and "Noche de sexo," among many others.

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Bollywood and Hollywood entwine for this mix of romance, singing, comedy, dancing, and melodrama, directed by Sanjay Leela Bhansali (DEVDAS) and produced in tandem with Sony/Columbia. The achingly beautiful Rani Mukherjee narrates and appears as Gulab, a streetcorner princess haunting the red light district in an expressionistic melange of Venice, Vegas, and Amsterdam. The irrepressibly callow musician Raj (Ranbir Kapoor) catches her eye, but Raj thinks he's in love with Sakina (Sonam Kapoor) who prefers to pine away for her absent lover, Imaan (Salman Kahn). All this longing (it's based on Dostoyevsky's WHITE NIGHTS) is stunningly captured through bizarre and elaborate backdrops, winding staircases, torrents of rain, and a color scheme heavy on the blues. Fans of Baz Luhrman's MOULIN ROUGE will want to live inside this film: there may not a whole lot of weight to all the tomfoolery, but the pain of youthful romantic idealism is part of the message. The music is always the thing with Bollywood films and SAAWARIYA packs in its share of rousing numbers. Western viewers entering the realm of Bollywood for the first time will find SAAWARIYA ("beloved" in Hindi) to be a crossover film that's ready to welcome them with open arms into a jubilant world of high-spirited song and dance, over-the-top goofiness, anguished melodrama, gyrating hips (with very sexy exposed belly buttons), and PG-rated romance.

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Spanish singer Isabel Pantoja performs folk songs in the Copla tradition in this live concert. She is one of the gems of the genre, and she puts all her talent on display at the Palau De La Musica in Spain. A 52-person orchestra accompanies Pantoja on classics such as "La Lirio" and "Madrina."

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Returning to the U.S. after more than a decade, Brazilian singer Robert Carlos overwhelmed audiences with this live performance of Spanish-sung songs, including "Emociones," "Detalles," "Cama y Mesa," "Amigo," "Un Million de Amigos," and many others.

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A stark drama awash in postmodern nihilism, BOOTLEG FILM follows two friends who are driving to a funeral: Tatsuo (Akira Emoto), a low-level criminal, and Seiji (Kippei Shiina), a police officer. The dearly departed was Ayako (Tamaki), a woman who at one time was married to Seiji and at another involved with Tatsuo. The circumstances of this journey have brought tensions between the pair to the surface, and they've been arguing when they encounter Yoji (Kazuki Kitamura) and Junko (Maika), a disaffected young couple who soon find out more about the two men than it's healthy for them to know. The second feature film from director Masahiro Kobayashi, BOOTLEG FILM was shown as part of the Un Certain Regard series at the 1999 Cannes Film Festival.

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Directed by artist Yoshimasa Ishibashi, the Japanese late-night variety show VERMILION PLEASURE NIGHT spins surreal comedy skits, off-kilter animation clips, and hyperactive J-pop musical sequences into a deliriously bizarre pop-culture confection. This collection presents two episodes.

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Acclaimed Japanese director Hayao Miyazaki adapts British writer Diana Wynne Jones's popular fantasy tale for this animated feature, adding his own unique and celebrated dreamlike spin. A young hat-maker named Sophie (voiced by Emily Mortimer) is turned into an old woman by the dreaded Witch of the Waste (Lauren Bacall) when she attracts the notice of Howl (Christian Bale), a young wizard whom the witch desires for herself. As the old woman, (voiced by Jean Simmons), Sophie finds refuge as a cleaning lady in Howl's magical castle, an impressively realized mishmash of anthropomorphic shafts and gears, where she meets, among other wonders, a cantankerous fire demon named Calcifer (Billy Crystal). Howl's courage inspires her to seek a cure for her curse, and vice versa, and the two work together to prevent a major war as the castle roams the countryside on its mechanical legs. There's lots of magic afoot as well, including travel through barriers of space and time, and shape-shifting, requiring full viewer attention to keep track of who, where, and when, but this how dreams really are and the film engages on that same subconscious level. As with Miyazaki's previous work (SPIRITED AWAY, KIKI'S DELIVERY SERVICE), the emphasis here is on creating a beautiful alternate reality, where anything can happen, and every frame is a breathtaking work of art. See it on the big screen if the chance presents itself; the elaborate intricacies and patiently realized alternate realities of Miyazaki's work makes him a true treasure.

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With his trademark mix of traditional rancheras and pop ballads, Alejandro Fernandez has risen to be one of Mexico's biggest performers. This collection presents Fernandez's greatest hits along with the music videos to some of his most enduring songs, including "Me Dediqué a Pederte," "No Se Olvidar," and "Si Tu No Vulves."

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