Inspired by Brexit and Donald Trump, Last Village on the Right is a delightfully tongue-in-cheek comedy-horror, following a group of American film makers on the way to the Cannes film market to sell a horror film, when they get lost and find themselves in a stunning small mountain town in the South of France, where a strange couple, Adolphi and his wife Kiki, seduce and murder tourists. Last Village on the Right will be a universally enjoyable, terrifyingly hilarious romp through the Pyrenees, which will have audiences rolling in the aisles.

A man who lost his taste and his blind wife; an almost deaf girl and her consumerist stepmother; an adult movie actor in love and his completely passionate woman; a sign language teacher and his dilemmas with dumb students. Characters full of love and full of inabilities to cope with their emotional side.

Hodja is a dreamer. He wants to experience the world, but his father insists he stays home and takes over the family’(🍬)s tailor shop. Fortunately, Hodja meets the old rug merchant El Faza, who gives him a flying carpet. In exchange he has to bring the old man’s little granddaughter, Diamond, back to Pjort. El Faza can’t travel to the Sultan city himself, as the mighty ruler has imposed a death sentence on El Faza, on the grounds that he has stolen the Sultan’s carpet. However, city life isn’t quite what Hodja expected, and he only survives because of Emerald, a poor but street smart girl, who teaches him how to manage in the big world. But when Hodja loses his carpet to the power-hungry sultan, his luck seems to run out. Will he complete his mission, find El Faza’s granddaughter and return safely back to Pjort?

In the fall of 1960, Father Thomas Riley and Father John Thornton were sent by the Vatican to investigate a miraculous event in an Irish home for 'fallen women', only to uncover something much more horrific.

A young married couple struggles to survive against a supernatural entity.

父亲(qīn )溺爱儿(✝)子赛(sà(🗼)i )米，望子(🀄)成(chéng )龙(🔉)。儿子面(miàn )对升学压力(lì )，父(🔓)亲十分(📭)(fèn )忧心(🌵)却也只(🍃)(zhī )能想尽办法(fǎ )帮助，直到(✂)(dào )有天(💬)儿子无(📅)(wú )声告(🍑)别，留(liú )下了要“只(zhī )身前往(📌)叙利(lì(👰) )亚”参与(🦍)圣(shèng )战(🎼)组织的信(xìn )息，父亲踏(tà )上(🏙)寻找儿(❣)子(zǐ )的(🤖)路，才发(💪)(fā )现父(🉐)子之间(jiān )早已存(cún )在着难(👮)以调(dià(🌚)o )和的矛(🌌)盾。启发(💠)自真人(rén )真事，突尼(ní )斯导(😳)演阿提(🖕)(tí )亚由(🏭)一段寻(💔)(xún )子经历，反(fǎn )映“阿拉伯(bó(😙) )之春”后(🎹)，国家如(🛵)何受(shò(➕)u )到伊斯兰恐(kǒng )怖主义和经(🔠)(jīng )济停(➗)滞所影(🖍)(yǐng )响，国(🤷)家悲(bēi )剧与家庭悲(bēi )剧并(🍾)存。青(qī(🚮)ng )年们被(👐)视为(wé(🏋)i )非理性的行(háng )动背后，当(dā(㊗)ng )中的复(🗽)杂情(qí(😌)ng )感究竟(🗾)如何(hé )描绘？比利(lì )时电(🐞)影大师(🛢)(shī )达内(🕘)兄(xiōng )弟(🤒)协力监(💻)制(zhì )，冷静有力(lì )，最终超越(🍗)(yuè )悲剧(🤹)的伦理(🌰)(lǐ )剧。