King Crimson is a band that people literally are dying to be in. In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. For over 50 years Robert Fripp, also famous for his work with David Bowie and Brian Eno, has overseen a unique creative environment in which freedom and responsibility conspire to place extraordinary demands on the band’s members — only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact. What began as a straightforward documentary about the cult rock band King Crimson as it turned 50, mutated into an exploration of time, death, family, and the transcendent power of music to change lives. But with jokes.

Divided into two chapters, director Bogdan George Apetri’s MIRACLE begins with the young, beautiful Cristina Tofan (Ioana Bugarin) sneaking away from an isolated convent. Working in the style of the Romanian New Wave, Apetri withholds key information about her motives as we follow her enigmatic journey, allowing tension to steadily build to a wavering precipice. The film’s second part follows Marius Preda (Emanuel Pârvu), a determined inspector retracing Cristina’s steps days after her departure. Here, the narrative opens into both gripping police thriller and devastating social commentary, as Marius gradually uncovers clues and revelations leading not only to the unfathomable truth behind Cristina’s mysterious actions, but possibly, to an actual miracle as well.

Along a polluted waterway near Shanghai, Mardar (Jia Hongsheng) rides his motorcycle each day, transporting Moudan (Zhou Xun), the teenage daughter of a local criminal. Despite his secret love for the young girl, he gets caught up in a scheme to kidnap her and hold her for ransom. The plan goes awry, however, and Moudan throws herself into the river and drowns. Mardar emerges from prison years later and encounters a nightclub entertainer who looks exactly like his lost love.
A strong but gentle film about identity, neediness, and desire, as well as our ability to re-invent the world to suit ourselves.

Taeko and her husband, Jiro, are living a peaceful existence with son, Keita. An accident brings the boy’s father, Park, back into her life. An enormously poignant melodrama told at the volume of a broken whisper. 

Along a polluted waterway near Shanghai, Mardar (Jia Hongsheng) rides his motorcycle each day, transporting Moudan (Zhou Xun), the teenage daughter of a local criminal. Despite his secret love for the young girl, he gets caught up in a scheme to kidnap her and hold her for ransom. The plan goes awry, however, and Moudan throws herself into the river and drowns. Mardar emerges from prison years later and encounters a nightclub entertainer who looks exactly like his lost love.
A strong but gentle film about identity, neediness, and desire, as well as our ability to re-invent the world to suit ourselves.