El camino se acaba cuando Val llega a la ubicación legendaria de su santuario prometido. ¿Encontrará el refugio que tan desesperadamente busca, o la estará esperando algo mucho más aterrador?

There's nothing that bonds a group of single black women together more than sidestepping the land mines of living, working and dating in Atlanta. In a sea of swipe-lefts, social media drama and unrealistic #relationshipgoals, these friends try to find their Mr. Right.

Muy lejos…
…en el mundo de Demetria, unas explosiones sacudieron la superficie y unas rocas gigantescas fueron arrojadas a los cielos, quedándose allí. Unos colonos fundaron grandes ciudades-estado en esas islas de mineral flotante, usando navíos para desplazarse entre ellas.

Twenty-two women (ranging in age from 11 to 84), with 41 breasts, talk about their breasts; most are topless as they speak. They talk about adolescence, bras, commercial images of women's figures, having implants or, in one case, a breast reduction, health problems with silicone, doctors' exams ("I think you have a throat infection, let me examine your breasts"), breasts as power tools and as objects of pleasure, cancer, living with mastectomies, and the effects of time and gravity. Two mother-daughter teams and two strippers participate. The women (and the girls) are humorous, straightforward, reflective, and good-natured about their bodies and their selves

Klaus Kinski has perhaps the most ferocious reputation of all screen actors: his volatility was documented to electrifying effect in Werner Herzog’s 1999 portrait My Best Fiend. This documentary provides further fascinating insight into the talent and the tantrums of the great man. Beset by hecklers, Kinski tries to deliver an epic monologue about the life of Christ (with whom he perhaps identifies a little too closely). The performance becomes a stand-off, as Kinski fights for control of the crowd and alters the words to bait his tormentors. Indispensable for Kinski fans, and a riveting introduction for newcomers, this is a unique document, which Variety called ‘a time capsule of societal ideals and personal demons.’