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In the 60’s, having as the background the rehearsal and recording of “Sympathy for the Devil” in the classic album “Beggar’s Banquet” by the revolutionary bad boy Rolling Stones – Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Brian Jones – plus Marianne Faithful, Godard discloses other contemporary revolutionary and ideological movements – the Black Power through the Black Panthers, the feminism, the communism, the fascism – entwined with the reading of a cheap pulp political novel divided in the chapters: “The Stones Rolling; “Outside Black Novel”; “Sight and Sound”; “All About Eve”; “The Heart of Occident”; “Inside Black Syntax”; and, “Under the Stones the Beach”.

Matt, a young glaciologist, soars across the vast, silent, icebound immensities of the South Pole as he recalls his love affair with Lisa. They meet at a mobbed rock concert in a vast music hall—London’s Brixton Academy. They are in bed at night’s end. Together, over a period of several months, they pursue a mutual sexual passion whose inevitable stages unfold in counterpoint to nine live-concert songs.

Raymond Ayala (better known as Daddy Yankee) stars as Edgar Dinero, an angry young man from the slums of Puerto Rico who gets tangled between the thug life of his neighborhood and the beat of his barrio. On that path Edgar encounters disruption among his crew men while falling in love with an uptown girl, whom “Dinero” must conceal his strong ties with the violent barrio underworld. Edgar may run, but is unable to hide from the scores of corrupt cops and the full blown war for the “Caserio” among his men. Soon enough Edgar must face the question. Would he die as the “Cangri” of the underworld or would he live as the “Big Boss” of Reggaetón?

A documentary on the legendary soul music concert staged in Kinshasa, Zaire in 1974.

Producer Swan has stolen the music composed by Leach. Leach wants revenge. When he tries to destoy Swan’s company, he gets a horrible accident. With a mutilated face he searches for other ways to get his revenge.

Vienna, 1824. In the days before the first performance of the Ninth Symphony, Beethoven needs help with copying out the charts, so a promising student of composition, Anna Holtz, 23, is sent to assist him. She not only aids the transcription of the notes, she provides guidance from the orchestra pit as Beethoven conducts the work’s debut. During the next two years, the final ones of Beethoven’s life, Anna provides assistance to the deaf, temperamental, ailing man. In return, he tutors her in composition and explains to her the ideas and principles of Romanticism. He tries to speak for God.

Shortly after the Second World War, Max, a transplanted American, visits an English pawn shop to sell his trumpet. The shopkeeper recognizes the tune Max plays as one on a wax master of an unreleased recording, discovered and restored from shards found in a piano salvaged from a cruise ship turned hospital ship, now slated for demolition. This chance discovery prompts a story from Max, which he relates both to the shopkeeper and later to the official responsible for the doomed vessel, for Max is a born storyteller. Though now down on his luck and disillusioned by his wartime experiences, the New Orleans-born Max was once an enthusiastic and gifted young jazz musician, whose longest gig was several years with the house band aboard the Virginian, a posh cruise ship. While gaining his sea legs, he was befriended by another young man, the pianist in the same band, whose long unlikely name was Danny Boodman T.D. Lemons 1900, though everyone just called him 1900, the year of his birth. Abandoned in first class by his immigrant parents, 1900 was found and adopted by Danny, a stoker, and raised in the engine rooms, learning to read by reading horseracing reports to his adoptive dad. After Danny’s death in an accident, 1900 remained on the ship. Increasingly lured by the sound of the piano in the first-class ballroom, he eventually became a gifted pianist, a great jazz improvisationist, a composer of rich modern music inspired by his intense observation of the life around him, the stories passengers on all levels of the ship trusted him enough to tell. He also grew up to be a charming, iconoclastic young man, at once shrewd and oddly innocent. His talent earned him such accolades that he was challenged by, and bested Jelly Roll Morton in an intense piano duel that had poor Max chewing paper on the sofa in agonies of suspense. And yet for all the richness and variety of his musical expression, he never left the ship, except almost, once, in the aftermath of his infatuation with a beautiful young woman immigrant who inspired the music committed to the master Max discovers in the pawnshop. Max realizes that 1900 must still be on the ship, and determines to find him, and to find out once and for all why he has so consistently refused to leave.

A fish-out-of-water comedy about a talented street drummer from Harlem who enrolls in a Southern university, expecting to lead its marching band’s drumline to victory. He initially flounders in his new world, before realizing that it takes more than talent to reach the top.

Just as Madea buries her sister, she must get ready for her granddaughter, Lisa, coming to get married at the house. It’s a bundle of laughs and drama and great music and lessons of forgiveness as Madea must endure the craziness of her neighbor, Leroy Brown, and the dysfunctional relatives staying under her own roof for the weekend.

He’s been in the country side, he’s been downtown, he’s been to Las Vegas, he’s even been in space, now that evil Leprechaun is in DA HOOD! Three young rap artists are looking for a break. They need money to buy some music equipment so they can go to Las Vegas and enter a contest. They meet up with a local pimp named Mack Daddy who agrees to “hook them up”, but later declines. The rappers want to get even with him so one night they break into Mack’s place and steal alot of his jewelry, gold, and even the medallion off an ugly looking statue. Shouldn’t have done that! Because without the medallion, the state transforms into the Leprechaun, who goes on a killing spree once again looking for his missing gold, once again! And the song says it all, “there’s nothin’ scarier than a Lep’ in the hood!”