In India, open romance is forbidden, as is showing affection in public. A college principal named Narayan is a strong believer in this, aware that a male student named Vicky is in love with Ishika; while another male student is hopelessly in love with Sanjana; and a third man named Karan is in love with a married woman named Kiran. No amount of persuasion can get Narayan to change his mind. Then the college recruits a music teacher named Raj, who eventually starts fanning the flames of love among the students, much to Narayan’s chagrin, anger, and displeasure. Things get worse when Narayan finds out that Raj was the very man who fell in love with his daughter who eventually committed suicide when he didn’t grant them permission to get married. Will the six young people be also heartbroken by Narayan, and if so, who will be the first to kill himself or herself?
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The story follows a young lawyer, Arthur Kipps, who is ordered to travel to a remote village and sort out a recently deceased client’s papers. As he works alone in the client’s isolated house, Kipps begins to uncover tragic secrets, his unease growing when he glimpses a mysterious woman dressed only in black. Receiving only silence from the locals, Kipps is forced to uncover the true identity of the Woman in Black on his own, leading to a desperate race against time when he discovers her true identity.
When a local woman disappears and the police can’t seem to find any leads, her father turns to a poor young woman with psychic powers. Slowly she starts having visions of the woman chained and in a pond. Her visions lead to the body and the arrest of an abusive husband, but did he really do it?
In this reimagining of the 2010 Mexican film of the same name, director Jim Mickle paints a gruesome portrait of an introverted family struggling to keep their macabre traditions alive, giving us something we can really sink our teeth into.
In 1879, the British suffer a great loss at the Battle of Isandlwana due to incompetent leadership. Cy Endfield co-wrote the epic prequel Zulu Dawn 15 years after his enormously popular Zulu. Set in 1879, this film depicts the catastrophic Battle of Isandhlwana, which remains the worst defeat of the British army by natives, with the British contingent outnumbered 16-to-1 by the Zulu tribesmen. The film’s opinion of events is made immediately clear in its title sequence: ebullient African village life presided over by King Cetshwayo is contrasted with aristocratic artifice under the arrogant eye of General Lord Chelmsford (Peter O’Toole). Chelmsford is at the heart of all that goes wrong, initiating the catastrophic battle with an ultimatum made seemingly for the sake of giving his troops something to do. His detached manner leads to one mistake after another.