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Based on the international bestseller by Robert Harris. It is Autumn 1938 and Europe stands on the brink of war. Adolf Hitler is preparing to invade Czechoslovakia and Neville Chamberlain's government desperately seeks a peaceful solution. With the pressure building, Hugh Legat, British civil servant, and Paul von Hartmann, German diplomat, travel to Munich for the emergency Conference. As negotiations begin, the two old friends find themselves at the centre of a web of political subterfuge and very real danger.

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The true story of eccentric British artist Louis Wain, whose playful, psychedelic pictures transformed the public's perception of cats forever. Set in the early 1900s, we follow Wain as he seeks to unlock the "electrical" mysteries of the world and, in so doing, to better understand his own life and the profound love he shared with his wife Emily Richardson.

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A film about a man with a breakthrough history of Poland in the background. Edward Gierek is one of the most important figures of the 20th century in the collective memory of Polish people. Even though he stands in line with notables like John Paul II, Jozef Pilsudski or Lech Walesa, film industry hasn't noticed him yet. Janusz Iwanowski and Jolanta Owczarczyk, producers, decided to fill this gap. The film is set in the years 1970-1982, when Edward Gierek becomes First Secretary of the Central Committee of the PZPR (Central Committee of the Polish United Worker's Party) until his internment. It won't be a political film. The audience will see Edward Gierek behind the scenes of his political power. Family relations that have never seen the light of day are an essential part of this story. The filming was preceded by months of preparations and rehearsals with actors as well as appearance transformations. The film was shot in the South of Poland: in Katowice, Ustron, Zawiercie, as well as in Warsaw, Deblin and the Imperial Shipyard in Gdansk.

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A woman becomes a powerful underworld figure.

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"Mother married a photo of Father," says director Firouzeh Khosrovani in the opening of this deeply personal documentary. She's not speaking metaphorically though. Her mother Tayi literally married a portrait of Hossein in Teheran -he was in Switzerland studying radiology and was unable to travel back to his homeland for the wedding. The event illustrates the abyss that still exists in their marriage: Hossein is a secular progressive and Tayi a devout, traditional Muslim. But this family history is also a sort of x-ray, laying bare the conflicts of Iranian society in the run-up to, and aftermath of the Iranian Revolution in 1979. Besides Khosrovani's commentary, we hear letters being read aloud and recollections of conversations between her parents. At the same time, we see photographs and videos from the family archive. These fragments of intimacy are interspersed with stylized shots of the filmmaker's parental home, its decor and furnishings subtly reflecting each new phase in her parents' marriage-and in Iranian society.