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The first part of a trilogy, NIGHT WATCH is an old-fashioned good vs. evil parable that relies on some thoroughly modern special effects to ensnare its audience. Set in present-day Moscow, the movie begins with a quick skip back through the centuries to inform us how a delicate truce was struck between the forces of Light and Dark. These forces still exist in Moscow, with both sides keeping a close eye on each other as they attempt to disguise themselves from the earth's mere mortals. NIGHT WATCH's central character is Anton Gorodetsky (Konstantin Khabensky), who is defined as an "Other" by the legions of Light and Dark. Anton and his cohorts live as vampires, and await the arrival of a virgin who will announce the resumption of hostilities between the forces of Light and Dark; as the film progresses, it becomes apparent that an epic battle is just around the corner. One of the biggest films of all time in its native Russia, director Timur Bekmambetov's NIGHT WATCH positions itself somewhere in between THE MATRIX and BLADE in the pantheon of CGI-fueled sci-fi flicks. Although the plot is mind-boggling and occasionally verges on the incomprehensible, Bekmambetov is presumably using this first part of the trilogy to lure viewers into his wild cinematic world. Impressively, Bekmambetov's film was shot on a tiny budget, but it belies its meager origins. Even the English subtitles are integrated into several scenes, with words zipping across the screen and melting into the action as a heavy-metal soundtrack thumps away. Knowing he is set to film two sequels, Bekmambetov leaves his audience hanging as NIGHT WATCH nears its climax, with his second installment (DAY WATCH) promising further FX-laden feuding, and, in an intriguing twist, an English-language climax to the trilogy with DUSK WATCH.

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A Polish film set amid the ravages of World War II, PORNOGRAFIA follows two middle-aged men as they pontificate and speculate on the future of their country. Although the battle comes perilously close, the two men prefer to ignore it, and instead focus their lusty attentions on a nearby farmer's daughter.

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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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Amélie Poulain (Audrey Tautou) is a young woman who glides through the streets of Paris as quietly as a mouse. With wide eyes and a tiny grin, she sees the world in a magical light, discovering minor miracles every day. A shy and reserved person whose favorite moments are spent alone skimming stones into the water, Amélie was raised by a pair of eccentrics who falsely diagnosed her with a heart problem at the age of six and so limited her exposure to the outside world. Now a free and independent woman, Amélie wears a bob that curls in every direction and dresses in red. With a job in a café and an aptitude for spying on her neighbors, Amélie entertains herself by enacting a series of homemade, kindhearted practical jokes. She returns a long-forgotten box of childhood knickknacks to its proper owner, she sends her father's garden troll on a trip around the world, and she creates a love connection at the café between the hypochondriac druggist and a beer-drinking old grouch. But when the day is done, Amélie finds one stone unturned, and decides to work her magic on the quirky object of her affections, Nino Quincampoix (Matthieu Kassovitz), whom she has never met. Director Jean-Pierre Jeunet (who codirected DELICATESSEN and THE CITY OF LOST CHILDREN with Marc Caro) presents AMÉLIE, an aesthetically gorgeous and inventive film. The rich, glowing color scheme is offset by flashbacks in black and white archival footage that give short biographies of each character. A soft-spoken narrator guides viewers through this enlightening fairy tale, which sometimes speeds through the streets and other times drifts in slow motion. AMÉLIE is humorous, questioning, and strange, and it will change the lives of all who watch it, if only for a short while after leaving Amélie's world.

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Based on the Japanese drama HEAVEN'S COINS, the popular South Korean mini-series SPRING DAYS is a romantic melodrama of unspoken tragedy and sibling rivalry. Jung-eun (Hyun-jung Go) is a beautiful young woman whose traumatic past has rendered her mute. Admitted to a hospital, Jung-eun is treated by a handsome and compassionate doctor, Eun-ho (Jin-hee Ji), who begins to fall in love with his new patient. But the couple's burgeoning relationship becomes complicated by the arrival of Eun-ho's stepbrother, Eun-sub (In-sung Jo), triggering a tense love triangle with some unexpected consequences. Brimming with the strong acting, gripping storylines, and well-drawn characters for which K-dramas have become known, the sudsy mini-series is presented in its entirety with this collection of 20 episodes.

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Set in 16th Century Japan, Akira Kurosawa's epic SEVEN SAMURAI follows the plight of a defenseless farming village that lives in constant fear of marauding bandits. The farmers know that when their crops are harvested, the thugs will attack, so four men go to town in hopes of employing samurai to fight for them. However, the poor villagers can merely offer payment in the form of shelter and a daily bowl of rice, and initially only Kambei (Takashi Shimura), a brave elder samurai, and his eager young apprentice, Katsushiro (Isao Kimura), take up their cause. Encountering various nomadic warriors on the streets, they slowly put together his team of swordsmen, recruiting Shichiroji (Daisuke Katô), Gorobei (Yoshio Inaba), Heihachi (Minoru Chiaki), and Kyuzo (Seiji Miyaguchi). Finally, Kikuchiyo (Toshirô Mifune), a scruffy wanderer who has been trailing them, completes the small band of ronin. However, upon reaching the village, the samurai learn that the farmers fear them as much the enemy. Despite the tensions, Kambei and his men slowly train the peasants to defend their village. Eventually the warriors launch a preemptive strike against the bandits, and begin a series of intense conflicts that culminates in a rain-soaked final battle--without a doubt, one of the most stunning sequences in cinema history. Widely considered to be the greatest Japanese film ever made, Kurosawa's SEVEN SAMURAI is also credited with pioneering the modern action movie. This notion is especially evident in thrilling scenes such as Kambei's rescue of a kidnapped child, Kyuzo's duel, and Kikuchiyo's intensive theft of an enemy gun. Although the film clocks in at more than three hours, the story remains consistently engaging and slowly heightens the tension while providing action, drama, comic relief, and character development. Gleefully running amuck, Mifune gives one of his most renowned performances, imbuing the often comical Kikuchiyo with a surprising streak of melancholy and introspection. However, it is Shimura that anchors the entire film as the thoughtful and courageous Kambei, who stoically takes on the leadership of an almost impossible task. A monumental achievement in filmmaking, Kurosawa's SEVEN SAMURAI is cinematic perfection in nearly every aspect, giving the production its much-deserved status as one of the best films ever created.

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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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Loosely based on the classic WEST SIDE STORY, JOSH tells the tale of two rival gangs, one led by Prakash (Sharad Kapoor), and the other by Max (Shah Rukh Khan). When Prakash's twin brother (Chandrachur Singh) returns to town, his newfound love for Max's sister, Shirley (Aishwarya Rai), threatens to upset the tenuous peace between the gangs.

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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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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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Federico Fellini's Oscar-nominated 8 1/2 is a masterpiece of storytelling and cinema. The most autobiographical of Fellini's films, the plot of which concerns a 43-year-old film director who is having a midlife crisis, it is a career benchmark for this magnificent Italian New Wave director. Beautifully choreographed with flashbacks, dream sequences, exaggerated fantasy scenes, and magical surrealist episodes, 8 1/2 is one of the richest, most exuberant movies ever made, in the mode of Fellini's artfully abstract LA DOLCE VITA and AMARCORD. Guido Anselmi (Marcello Mastroianni) is at a crisis point in his life and his work; in the opening sequence, Guido, suffocating, is caught in traffic with the windows of his car locked shut. He climbs out of the sunroof and literally rises up over the highway into the clouds, seemingly free, when he realizes there's a rope tied around his ankle that is violently pulling him back to earth. Cutting from this dream to the health spa where Guido is trying to recapture his creativity and write the screenplay for his next film, his vices become clear: Guido is self-absorbed, and he's distracted by the fabulous cast of actresses, intellectuals, and eccentrics who have joined him at the spa. Additionally he struggles with Freudian complexes about his wife (Anouk Aimée), his lover (Sandro Milo), his ideal woman (Claudia Cardinale), and his dead parents; and his repressive Catholic guilt follows him everywhere like a haunting mist.

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The strange relationship between two women is the subject matter for LA USURPADORA. On meeting, the women are shocked to find how alike they are. A perfect physical match, the two only differ with their directly opposite views on life. While one wears her heart on her sleeve, the other is full of hatred and bile. To make matters worse, the coldhearted half of this curious pair of doppelgangers is caught up in a marriage to a man she doesn't care for. Sensing an out, she forces her lookalike friend to enter into a relationship with her husband so she can enjoy the freedom she so desperately craves. But such activities can only lead to further harm, and as LA USURPADORA reaches it's nail-biting finale, the two women have to make some vital decisions to bring some equilibrium back into to their lives.

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Five films from the prolific oeurvre of one of Mexico's most popular actors, Antonio Aguilar, are contained here. Known for his vocal abilities as well as his brawling screen persona, Aguilar earned comparisons to the stars of Hollywood westerns in the 1950s and 60s. In BALA PERDIDA (Stray Bullet), a bullfighter in a small Mexican town who is in love with the pharmacist's daughter, must contend with his old rival who returns from Mexico City to hide an illicit stash of money with the girl. YO, EL MUJERIEGO (The Womanizer) follows rich playboy Rafael, who is engaged to one woman but loves another. The object of his affection is a single mother with troubles of her own. Rafael pretends to be her husband for the benefit of the woman's daughter, but things don't go exactly as planned! GABINO BARRERA (A Man Called Gabino Barrera) is a legend of the people, a symbol of freedom and a defender of justice; played by Aguilar, he travels the country, protecting its inhabitants. In CABALLO PRIETO AZABACHE (The Midnight Stallion), Jesus helps a man accused of murder escape the death sentence; the accused later becomes Pancho Villa, whose men capture Jesus. Will Villa remember the hand extended to him in aid long ago? Finally, Gabino Barrera returns to hunt down escaped criminal Luis who murdered his young wife Alicia. But nothing will interfere with the final showdown between the vigilante and the fugitive in LA VENGANZA DE GABINO BARRERA (The Revenge of Gabino Barrera).

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Jean Rollin, the legendary French director best know for his lesbian vampire films such as THE SHIVER OF THE VAMPIRES, returns to genre that made his name with TWO ORPHAN VAMPIRES. Based on his own novel, the film is the story of two teenage girls, Louise and Henriette, who have grown up orphaned and are believed to be blind. While it is true that they cannot see during the day, Louise and Henriette are given the power of vision at night, when they hunt their prey. Stylish, atmospheric, and genuinely haunting, TWO ORPHAN VAMPIRES is a stunning return to form from one of France's greatest talents.

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Christina the daughter of rich farm owner Don Sereriano has a child out of wedlock with a laborer who works for her father. Mad with disappointment her father demands that Christina give the child away and marry Federico Rivero another wealthy farm owner. Now Christina has to choose between two men one rich and one poor as they fight for her love.

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In Fritz Lang's startling and exquisite film M, fear stalks the streets of Berlin in the form of a serial child murderer whose grisly accomplishments are so heinous even the criminal minds of the underworld want him dead. Filmed in post-Weimar Germany during the infancy of the Nazi state, this tale of moral depravity serves not just as an allegory for the need of justice for all, but as an ominous foreshadowing of the sort of societal hysteria that leads to cultural witch hunts. Originally titled "Morder Unter Uns" ("Murderers Among Us"), M was one of Peter Lorre's (CASABLANCA) first major film roles. Fritz Lang's expressionistic eye plunges into the dark cityscape of Berlin, as he follows the killer whistling down the street, seducing small children with toys and candy, and eventually fleeing for his life. A city paralyzed by fear, and a vast criminal underground network of blind beggars, thieves and murderers, as well as an unforgettable climax notable for its startling statement about the murderous nature which resides within human beings, are all rendered in Lang's painterly cinematography of sharp angles, dark corners and breakneck pacing.

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Marco (Roberto Sosa of HIGHWAY PATROLMAN) is a journalist who desires the truth. His integrity puts him at odds with local authorities when he is assigned to a corrupt Mexican city to investigate the murder of a politician. A Brazilian woman has been framed for the crime, but Marco learns otherwise. Assisted by his girlfriend Maria (Lumi Cavazos of LIKE WATER FOR CHOCOLATE), Marco seeks the true identity of the killer and becomes enmeshed in a world of corruption, prostitution, torture, and greed. This Mexican thriller will open viewers' eyes to corruption in Mexican politics. Writer/director Francisco Athie (LOLO) delivers both the mysterious story of the investigation and the political overtones in equal measure. Shot by Mexican cinematographer Rodrigo Pietro (AMORES PERROS).

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REBELDE is a Mexican soap opera set in a school for the country's richest teens. Among the elite are a few poor kids whose natural gifts have allowed them entrance to this exclusive institution. When these two markedly different groups meet, the have-nots become the objects of scorn from their wealthier counterparts, resulting in an explosive mix of comedy, drama, and pop-music interludes that would make BEVERLY HILLS 90210 proud. This release presents the sudsy series' third season.

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UN HOMBRE LLAMADO EL DIABLO: Stepping into a small town with the intent of getting revenge, a suspicious man interrupts the lives of the local men and women by summoning their deepest fears and desires. POR TU MALDITO AMOR: A man is in the very difficult position of choosing a future with two women. On one hand he can choose to live the rest of his days with beautiful, mature woman who owns lots of land and is wealthy. On the other hand, he can choose to live with a younger, more vibrant woman who is not as stable and is seeming very promiscuous. The biggest problem presents itself when he discovers that two women are actually sisters. EL COYOTE Y LA BRONCA: A tale of love set in society's underbelly, COYOTE Y LA BRANCA presents a seamy blend of crime, sex, and action. "The Coyote" is a fast-talking con man who will do whatever it takes to make easy money. Cocky and seemingly undefeatable, he meets his match in "La Branca," a voluptuous vixen whose feminine wiles are nearly impossible to resist. Initially engaged in a combat of wit and wills, the conflict between these two soon turns to desire. Can love tame them? Or will the melding of two diabolical minds propel them further into a Bonnie and Clyde-like life of criminal coupledom? MATAR O MORIR: A father who wants revenge for the death of his son faces a racist sheriff, in a story of adventure, romance and lovely songs.

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TU CAMINO Y EL MIO: The voice and beautiful songs of Vicente Fernandez frame this love drama and give life to a romantic film. JALISCO NUNCA PIERDE: A poor man falls for the likes of a millionaire's beautiful daughter. Before his courtship commences, however, he will have to deal with a dashing aristocrat's jealous antics. ENTRE MONJAS ANDA EL DIABLO: In this Mexican romantic comedy, a carefree adventurer wakes up one day to find himself in a convent and falls madly in love with one of the nuns. COMO MEXICO NO HAY DOS: Rising from poverty to stardom, a music icon realizes all too late that his humble beginnings have not prepared him for life in the bloodthirsty entertainment business.

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Deals on Amazon.com in Foreign DVDs & Videos. Visit BizRate to find the best deals on Foreign DVDs & Videos. See which DVDs & Videos stores have the Amazon.com that you want. Read reviews on DVDs & Videos merchants and buy with confidence. Find savings on Chinese Film Classics Collection: An Orphan on the Streets/The Watch [DVD] - Night Watch (Checkpoint; Sensormatic; Widescreen) [Blu-ray Disc].