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My Life Without Me is a 2003 Canadian drama film directed by Isabel Coixet and starring Sarah Polley, Mark Ruffalo, Scott Speedman, and Leonor Watling.Based on the 1997 short story collection Pretending the Bed Is a Raft by Nanci Kincaid, it tells a story of a 23-year-old woman, with a husband and two daughters, who finds out she is going to die soon.
Nine Queens (Spanish: Nueve reinas) is a 2000 Argentine heist crime drama film written and directed by Fabián Bielinsky.It stars Ricardo Darín, Gastón Pauls, and Leticia Brédice.
Lady in the Water is a 2006 American fantasy psychological thriller film written and directed by M. Night Shyamalan, who produced with Sam Mercer.The film features the starring cast of Paul Giamatti and Bryce Dallas Howard with Bob Balaban, Jeffrey Wright, Sarita Choudhury, Freddy Rodriguez, Bill Irwin and Jared Harris in supporting roles.
Sin nombre (English: "Nameless") is a 2009 adventure thriller film written and directed by Cary Joji Fukunaga, about a Honduran girl trying to immigrate to the United States, and a boy caught up in the violence of gang life. Diego Luna and Gael García Bernal were executive producers on the Spanish-language film.
Dread is a 2009 British horror film directed and written by Anthony DiBlasi and starring Jackson Rathbone, Shaun Evans and Hanne Steen, based on the short story of the same name by Clive Barker. [1] The story was originally published in 1984 in volume two of Barker's Books of Blood short story collections.
I Am Wrath is a 2016 American vigilante action-thriller film directed by Chuck Russell and written by Yvan Gauthier and Paul Sloan.The film stars John Travolta, Christopher Meloni, Sam Trammell, Amanda Schull, Rebecca De Mornay, Melissa Bolona and Luis Da Silva.
Las películas de mi vida (translated as The Movies of My Life: A Novel) is a 2002 semi-autobiographical novel by Chilean writer Alberto Fuguet. Plot summary.
Writing on the film's ambiguous conclusion, Jessica Balanzategui notes that narrative renders it impossible to discern whether or not the Angela that Claudia meets in the final scene is actually her daughter, leaving the audience "trapped in a perceptual gap incarnated by the child's subversive ambiguity," and the character of Claudia "forever entombed by the any-space-whatever of traumatic ...