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Italian director Gabriele Muccino (THE LAST KISS) directs this tale of a modern family who is on the verge of unraveling. On the surface, the Ristuccia family appears to have it all: Carlo (Fabrizio Bentivoglio) has a well-paying, secure job; Giulia (Laura Morante) is getting more beautiful with age; 18-year-old Valentina (Nicoletta Romanoff) has dreams of dancing stardom; and 19-year-old Paolo (Silvio Muccino) has fallen in love. But, as is the case with most things in life, desperation and hopelessness lie just around the corner. When Carlo bumps into a former flame (Monica Bellucci), the floodgates of passion are opened. Meanwhile, the other characters must confront demons of their own. After a near-fatal tragedy, the family is finally forced to confront its downward spiral. Muccino's bittersweet drama critically yet empathetically captures the lives of these tender souls. He uses sweeping Steadicam cinematography to reflect the swirling emotions within each character, and layers the picture with stacks of pop music. But Muccino's greatest talent lies in casting. As the conflicted Carlo, Bentivoglio shines, while Romanoff and Muccino (the director's brother) are completely natural in their roles. But the film's real standouts are Morante and Bellucci, two of the world's most beautiful actresses, who somehow manage to present themselves with a heartbreakingly believable fragility.

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When an oddball pair of Russian soldiers are captured and taken prisoner by a Chechen father hoping to barter them for the release of his captive son, the two disparate hostages begin to develop an unexpected--and frequently humorous--bond of friendship. Inspired by the Leo Tolstoy novella "A Prisoner of the Caucasus." Academy Award Nomination: Best Foreign Language Film.

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A young postman's world is brightened as he begins delivering letters to poet Pablo Neruda, exiled on an island off the coast of Italy. At first hoping friendship with the poet will improve his reputation with a local barmaid, he ultimately develops a genuine, touching relationship with the laureate. This was the late Massimo Troisi's final film appearance. Academy Award Nominations: 5, including Best Picture, Best Director and Best Actor--Massimo Troisi. Academy Awards: Best Original Dramatic Score.

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Written and directed by Guillermo del Toro, PAN'S LABYRINTH is a thrilling, violent fairy tale set in post-Civil War Spain. Ivana Baquero stars as Ofelia, a young girl who moves with her mother, Carmen (Ariadna Gil), into the home of Captain Vidal (Sergi López), in an abandoned mill in the middle of dark, dangerous woods. Vidal is leading his team of soldiers against resistance fighters--and he will do whatever is necessary to kill every last one of them. As Vidal bosses around the pregnant Carmen, a flying creature leads Ofelia through a garden labyrinth and into an underground cave ruled by Pan (HELLBOY's Doug Jones), who believes that Ofelia might be the lost princess of this strange yet magical place. To prove she is royalty, Ofelia must complete three tasks, each more difficult and terrifying than the previous one. Meanwhile, Vidal is becoming more and more paranoid, torturing and murdering seemingly at will. Del Toro (THE DEVIL'S BACKBONE, HELLBOY, CRONOS) creates a marvelous battle between good and evil, between heroes and villains, in both the real world aboveground and the mystical land below. Baquero gives a compelling performance as the terrorized Ofelia, who is befriended by Mercedes (Maribel Verdú), a woman who harbors some secrets of her own. Stellar production design, superb special effects, and a stirring score by Javier Navarrete add to the scary fun. Selected as the closing-night entry in the 2006 New York Film Festival, PAN'S LABYRINTH is a captivating story that is not for the squeamish.

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Written and directed by Guillermo del Toro, PAN'S LABYRINTH is a thrilling, violent fairy tale set in post-Civil War Spain. Ivana Baquero stars as Ofelia, a young girl who moves with her mother, Carmen (Ariadna Gil), into the home of Captain Vidal (Sergi López), in an abandoned mill in the middle of dark, dangerous woods. Vidal is leading his team of soldiers against resistance fighters--and he will do whatever is necessary to kill every last one of them. As Vidal bosses around the pregnant Carmen, a flying creature leads Ofelia through a garden labyrinth and into an underground cave ruled by Pan (HELLBOY's Doug Jones), who believes that Ofelia might be the lost princess of this strange yet magical place. To prove she is royalty, Ofelia must complete three tasks, each more difficult and terrifying than the previous one. Meanwhile, Vidal is becoming more and more paranoid, torturing and murdering seemingly at will. Del Toro (THE DEVIL'S BACKBONE, HELLBOY, CRONOS) creates a marvelous battle between good and evil, between heroes and villains, in both the real world aboveground and the mystical land below. Baquero gives a compelling performance as the terrorized Ofelia, who is befriended by Mercedes (Maribel Verdú), a woman who harbors some secrets of her own. Stellar production design, superb special effects, and a stirring score by Javier Navarrete add to the scary fun. Selected as the closing-night entry in the 2006 New York Film Festival, PAN'S LABYRINTH is a captivating story that is not for the squeamish.

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He Ping, the director of the cult classic SWORDSMAN IN DOUBLE FLAG TOWN and the better-known RED FIRECRACKER, GREEN FIRECRACKER, enters the big time with WARRIORS OF HEAVEN AND EARTH, an epic battle between two heroic figures fighting for themselves and for their countries. When Li (Jiang Wen) refuses to kill innocent women and children, he becomes a rogue soldier without a land. Master swordsman Lai Xi (Nakai Kiichi) is ordered to assassinate him if wants to get back to to his home in Japan and see his mother before she dies. But first they must join together to help a caravan with precious cargo make its way safely across the desert--with a beautiful woman, Wen Zhu (SHAOLIN SOCCER's Zhao Wei), caught in between them. The gorgeous cinematography is by Zhao Fei, who shot such Asian epics as RAISE THE RED LANTERN as well as such Woody Allen films as SWEET AND LOWDOWN and SMALL TIME CROOKS. The lush look of the film is echoed by A.R. Rahman's marvelous score and outstanding costuming and set design. Ping masterfully recreates seventh-century China as horses and camels lead the protagonists down the famous Silk Road during the time of the Tang Dynasty.

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This debut feature film by Joshua Marston tells the suspenseful and absorbing story of Maria, a poor, pregnant Columbian teenager (Catalina Sandina Moreno) with a soul-crushing job at a flower plantation and a rebellious streak. Her multigenerational, all-female family relies too much on her as the principle breadwinner, squandering her earnings on medicines of questionable value for her sister's baby. This drives Maria to quit, dump her immature boyfriend, and go to Bogotá where she tumbles into work as a drug mule. Like thousands of real-life Columbians, she earns money by flying to New York City with up to a kilogram of tightly wrapped heroin pellets in her stomach, risking prison or worse: instant death should even one of the pellets break open inside her. Marston based the film on actual interviews with airport customs agents and former mules; the result is an authentic, intensely cinematic experience. The camera wrings vivid color and mood from the many on-location settings and doesn't shy away from any aspect of Maria's journey, making this succeed as a suspense film, character study, and detailed examination of a rarely seen aspect of the drug wars. Thanks to the superb performance and charisma of lead actress Moreno--in her film debut--the audience stays riveted to her plight every step of the way. MARIA FULL OF GRACE made its debut at Sundance where it won the Audience Drama Award.

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It is a tradition in the Hong Kong film community for actors and directors to donate their time and the profits from a film in order to raise funds for various causes. TWIN DRAGONS was part of an effort of the Hong Kong Directors Guild to build a new headquarters. Ringo Lam and Hark Tsui split the director's job and Jackie Chan splits the lead in two by playing twins separated at birth. They are brought back together when the nonviolent concert pianist John Ma comes to Hong Kong and becomes involved in the life of his streetfighting twin, Boomer. Although it is conceived as a comedy and an obvious satire of Jean-Claude Van Damme's own twin brother film, DOUBLE IMPACT, there is plenty of action, including both car and boat chases. A complicated love story develops, with the usual mistaken identity problems, when Tammy (Nina Li Chi) and Barbara (Maggie Cheung) keep wondering why their boyfriend's personalities keep changing. Cheung, who is best known for her stunning performance in Wong Kar-Wai's IN THE MOOD FOR LOVE, plays the foil to both characters with her usual sparkle. Chan provides the well-choreographed fights. Directors Lam, Tsui, and John Woo make cameo appearances.

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The third installment in Hark's Wong Fei-Hong franchise, sees Hung (Jet Li) and his sidekick Chung arriving in China just in time for the Empress-sponsored Lion Dance kung fu invitational. But Wong has other concerns to deal with--including winning back his secret love Yee from Tumanovsky, an evil Russian diplomat/spy who plans to assassinate the president! As if that isn't enough, he is to face his fearsome rival Thunder Foot in the competition. Li's formidable martial arts and acrobatic skills blend with a healthy dose of humor to create a worthy installment to this popular series.

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When master warrior Kwun (Jet Li) returns to his village to find that his young son Ting is the sole survivor of vicious massacre by Manchu soldiers, he hits the vengeance trail, training the young boy in the martial arts along the way. For seven years, father and son are on the run. They encounter five Shaolin monks upon whom fragments of a treasure map have been tattooed. Before long, wicked Manchu leaders find out about the maps and set out in search of the masters. Kwun and Ting unite with the monks and brace themselves for the battle of their lives against the forces that destroyed their village. The breathtaking and often comical martial arts sequences were choreographed by Corey Yuen (THE ONE, ROMEO MUST DIE).

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Jeanne Moreau stars as the eponymous schoolmistress of a small French village, to all appearances a repressed, young spinster, yet she's consumed by a sexual hunger that provokes her to secret acts of violence and random destruction. In poisoning the animals' drinking water, opening the floodgates to drown them, and setting fire to barns and homes, she experiences the sexual fulfillment otherwise denied her. The angry townspeople, mystified about the source of the crime, would like to scapegoat recent arrival Manou (Ettore Manni), a virile woodcutter who is the foreman of a crew of Italian laborers. He is already deeply resented by the local men because most of the village women are in thrall to his overpowering sexual magnetism, the secretive Mademoiselle most of all. Manou sports with some of the women but ignores Mademoiselle. Enraged by his indifference, the teacher leads him into the fields and seduces him by licking his hands and boots and crawling on all fours. Later, she returns to the village, her clothes in a ragged state, and claims that the woodcutter is guilty of rape. Jeanne Moreau is brilliant in director Tony Richardson's wickedly naughty film.

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A stylish thriller set in Italy, a ten-year-old boy runs for his life when his family is murdered by local criminals.

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Director Wong Kar-Wai's style reaches its fullest expression in his stunning film 2046. Picture-perfect period sets and costuming, finely wrought atmosphere, languid shots, glamorous cigarette smoke, amber lamplight, and allusions to film noir. 2046 is a meditation on memory, eroticism, love, loss, and longing which surpasses the director's beautiful, widely acclaimed IN THE MOOD FOR LOVE (2000) in terms of formal ambition and visual sumptuousness. With its intriguing, layered structure, the film follows the adventures of Chow Wo Man (Tony Leung), a womanizer who is writing a science fiction novel about a future year in which all memories are suspended. The film shuttles between the BLADE RUNNER-like world of Chow's futuristic novel (complete with androids and other metaphors of emotional disconnection) and late-'60s Hong Kong--where Chow writes from a hotel room, and engages in relationships with a series of beautiful, complex women (including the luminous trio of Gong Li, Zhang Ziyi, and Faye Wong). The film also journeys to Singapore and through the increasingly mysterious corridors of the protagonist's memory. 2046 resists tidy plot summaries with its disjointed, zigzagging construction. Yet, coupled with Wong's rich cinematography and dazzling formal techniques, it is as fluid, associative, and labyrinthine as memory itself. Sliding between keenly detailed realism (Wong's camera can capture the subtlest flicker of emotion in a characters' eyes) and lavish, expressionistic metaphor, the film is a deeply entrancing experience. Even given its jumbled, sometimes chaotic narrative, 2046 creates a poignant, emotionally charged, and richly rewarding experience.

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Set in 1970s Germany, Leopold [Bernard Giraudeau], a 50-year-old businessman, seduces 20-year-old Franz [Malik Zidi]. They fall deeply in love and move in together. The rest of the movie focuses on the emotional turmoil that both endure as they grow apart, bickering over things of little importance. A twist halfway through the story adds a chaotic comic element, as Franz and Leopold are joined by their ex-girlfriends. WATER DROPS ON BURNING ROCKS was adapted by writer/director Francois Ozon from a play called "Tropfen Auf Heisse Steine" that was written by Rainer Werner Fassbinder when he was 19 years old, but was never before produced.

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The discovery of a feral youth in Nuremberg in 1828 prompts a flurry of speculation that the boy is the lost crown prince of Baden. Based on the same true story that inspired over 2000 books and another German feature film, Werner Herzog's "Every Man For Himself and God Against All."

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Director Jeong Jae-eun's debut feature, TAKE CARE OF MY CAT, is a slick but sensitive portrayal of girlfriends on the cusp of adulthood. Hollywood films about recent high school grads tend to focus on sex, partying, and planning for college. These Korean girls have their share of fun, but they have critical life issues to deal with, and the film presents them in a painstakingly realistic way. The fashionable Hye-joo (Lee Yo-won) is focused on her career at a brokerage house. She's making a decent living, but her co-workers look down on her. Tae-hee (Bae Doo-na) is sick of living under the thumb of her domineering father. She spends her time doing volunteer work for a poet with cerebral palsy. Sullen Ji-young (Ok Ji-young) lives in poverty with her grandparents and struggles to find work. The girls, close friends in high school, find themselves drifting apart as their adult lives begin to take shape. Jeong gets flawless performances from her young cast, as her film shows how clashing values effect friendships as one grows older. Visually, she makes original use of onscreen text (and ubiquitous pagers and cell phones) to shrewdly emphasize the prevalence of technology in the girls' lives.

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Building upon the revolution in Iranian cinema initiated by Abbas Kiarostami, Jafar Panahi has created a daring, innovative body of work, concerned with the human experience of social inequality as manifested on the streets of Tehran. THE MIRROR is the second in an interwoven trilogy that also includes THE WHITE BALLOON and THE CIRCLE. All of these films take as their main focus women or girls, caught within an unjust and bureaucratic system, who exhibit unexpected reservoirs of strength which are nonetheless often shown to be insufficient for change. Here it is Mina who takes center stage, a little girl with her arm in a cast whose mother does not come to pick her up from school one day. Undaunted, Mina dives into the chaos of the city to find her own way home, even though she doesn't know her address; a few random characters come to her aid, including a motorbike rider and a kindly bus driver. For the most part, however, people let the unconventional presence of the vulnerable little girl pass without a second thought. Mina observes everything magnanimously, and in the middle of the film she asserts herself in such a surprising fashion that it changes the remainder of the story entirely. Panahi works within a uniquely Iranian form of postmodernism, blending self-reflexivenenss with a marked social consciousness, and a distinctly-felt awareness of the relationship between the filmmaker and performer. The sheer beauty of the film, the engaging charm of the characters, and the bustling vitality of the Tehran streets draw viewers in to what is essentially a compassionate, humane portrait of class and gender inequality in Iran.

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Not merely a cinematic portrait of a day in the life of a city, cinema pioneer Dziga Vertov's MAN WITH A MOVIE CAMERA is an experimental manifesto of vision. Controversial when it was created in 1929, the film still pulses with the unruly energy and innovation of Vertov's genius. Subverting and criticizing the conventions of capitalist fiction filmmaking that he so despised, Vertov and his revolutionary Kino-Eye crew (including his wife as editor and his brother as cameraman--both of whom appear in the film) created a plethora of filmic devices in order to comment on vision, life, Marxism, and modernity. Differing film speeds, superimposition, evocative and manipulative editing, and rhythmic graphic composition all blend seamlessly in a magic show of life above and below the city. Shooting shops, traffic, children, coal miners, workers, human bodies, and nature, Vertov creates visual rhymes and graphic portraits of the structure of life and the explosion of perception. MAN WITH A MOVIE CAMERA took part in the city symphony genre that was popular at the time (BERLIN: SYMPHONIE OF A GREAT CITY is another example) but transcended it in its critical distance, sheer innovation, and sublimely fluid vision of man, machine, and society.

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This sequel to 2005's ONG-BAK: THE THAI WARRIOR sees director Prachya Pinkaew returning to tell an action-packed story that revolves around a missing elephant that turns up in Australia.

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On Japan's Megalopolis Freeway, illegal street racers endanger both their lives and the lives of other drivers in order to break the current speed record. Occasionally, even experienced racers perish when faced with the asphalt unpredictability known as "Devil's Curve." Japan's answer to THE FAST AND THE FURIOUS (though this film was made much earlier), FREEWAY SPEEDWAY 1 is the first in a series which was banned in its home country in order to discourage illegal street racing.

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Deals on New foreign dvds in Foreign DVDs & Videos. Visit BizRate to find the best deals on Foreign DVDs & Videos. See which DVDs & Videos stores have the New foreign dvds that you want. Read reviews on DVDs & Videos merchants and buy with confidence. Find savings on Remember Me, My Love - Prisoner of the Mountains (World Films) [DVD].