The story involves an incredibly strong ship stoker named Bill (Bancroft) and the beautiful prostitute Mae (Compson), whom he saves from drowning during his one night of shore leave. She was attempting suicide as she had no money, almost no clothes and felt remorse about her life up to then. He steals some clothes for her and invites her out for a "good night". They go to a bustling wharf pub and that evening they spontaneously get married by a minister invited to the pub.
The Nun starts out with a young woman, named Suzanne, in a wedding gown preparing to take her vows of chastity, obedience, and poverty to make herself a nun, but she refuses at the
The film focuses on Kinta, a member of the Himori Yakuza, who has been put in charge of the gang's pork distribution and his girlfriend Haruko, who works at a bar. Kinta is shown working with other gangsters, beating up a local shopkeep who caters to Americans and paying the people who work on the hog farm. When Kinta goes to visit Haruko in the afternoon she leaves without speaking to him and Kinta finds out through her sister that Haruko is being paid 30000 yen to go on a date with a sailor (and that her mother has already spent the money). Haruko returns to Kinta later that night, although Kinta is unhappy because of the earlier events. Haruko reveals that she is pregnant and expresses her concerns about Kinta’s work.
La Manuela, un travesti homosexuel, et sa fille Japonesita, tiennent un bordel dans le petit village d'El Olivo, que le chef, Don Alejo, veut vendre. Pancho, l'ancien protégé du chef du village, revient à El Olivo. Ivre, Pancho révèle sa part d'homosexualité avec La Manuela.
For years an aging Rukmini Bai (Shabana Azmi) has been the Madame of a brothel in Hyderabad, India. One day she gets the news that she now has a new landlord in Mr. Gupta (Kulbhushan Kharbanda), whose daughter is to marry the mayor's son Sushil, shortly. Led by City Councillor, Shantidevi, the people in this town demand that this brothel be moved elsewhere, preferably on the outskirts of the town, and they do succeed, compelling Rukmini to move with her women to their new location, which happens to be near the Dargah of Baba Karak Shah. Ironically, this attracts a lot of people, and the patronage to Rukmini's bordello increases. Then complications set in when Sushil refuses to marry his father's choice, childlike Malti, and wants to marry Zeenat (Smita Patil) - a prostitute, not entirely by choice and seeking for a better existence, who resides with Rukmini.
A young female journalist Keiko Mitani (Komaki Kurihara) is researching an article on the history of Japanese women who were forced to work as prostitutes in Asian brothels during the early 20th century. She locates Osaki (Kinuyo Tanaka), an elderly woman who lives with a number of cats in a shack in a remote village. Osaki agrees to tell her life story, and the film goes into flashback to the early 1920s. A young Osaki (Yoko Takashi) is sold by her poverty-stricken family into indentured servitude as a maid in Sandakan, British North Borneo (today’s Sabah, Malaysia) at what she believes to be a hotel. At parting, Osaki's distraught and tragic mother gives her a kimono that she has woven by hand over the night before her daughter's departure. The kimono will be Osaki's most treasured possession forever. The establishment is actually a brothel called Sandakan No. 8. Osaki, who is sold as a young girl, works for two years as a maid, but is forced by the brothel’s owners to become a prostitute. Osaki stays at Sandakan 8 until World War II, and in that period she never experiences genuine affection outside of a brief romance with a poor farmer who abandons her when he comes one evening to the brothel and sees the disheveled and exhausted Osaki after an onslaught of service to a battalion of Japanese sailors recently docked at the town. When Osaki returns to Japan, her brother and his wife, who have bought a house with the money she sent them, tell her that she has become an embarrassment.
Set in Rome and its surroundings, the film tells in a frighteningly realistic, ruthless and grotesque the evil of two powerful men of Italy in the seventies: a Director of illegal buildings (Vittorio Gassman), extremist fascist, and an upright judge, cynical looking in part to the Italian law (Ugo Tognazzi). Both can not stand each other, given the contrasts between the two men in any social, political and philosophical. Everyone hates each other and would like to delete it, but just because of the bad example that the two men give power to the people, many Italians are adversely affected because of cheating and rudeness of the fascist manufacturer and the communist magistrate. The director Dino Risi underlines the misdeeds and the weakness of the Italian people to react accordingly, by focusing on the story of these two men who are each other's opposite of the net.
Jirozaemon est un riche et honnête fabricant de soie qui avait été abandonné à la naissance par une famille inconnue mais sans doute aisée. Il est affecté d'une cicatrice au visage dont l'extrême laideur fait fuir les femmes. Comme il souhaite une épouse coûte que coûte, des clients lui arrangent des rencontres : en vain. Ils décident un jour de distraire le malheureux en l'emmenant à Yoshiwara, le quartier des plaisirs de Edo (ancien nom de Tokyo). Là-bas, même les geishas ne veulent pas lui tenir compagnie. Seule Tamatsuru, une prostituée de bas-étage sortant de prison et décidée à monter dans la hiérarchie sociale, accepte la compagnie du « monstre ». Celui-ci s'en émeut. Elle lui promet le mariage s'il l'aide à devenir « première courtisane ». Jirozaemon se ruine pour elle, à un moment où son entreprise traverse une mauvaise passe, avant de réaliser que le tout Yoshiwara s'est moqué de lui.
The film was known for its unusual story line set in a red light area. A newlywed couple, Hamid (Sanjeev Kumar) and Salma (Rehana Sultan), unwittingly rent a flat, and thus begins their daily turmoil at the knocks (dastak) on their door. The previous occupant was Shamshad Begum (Shakeela), a famous mujrewali (nautch girl).
The film is divided into ten scenes, each of which depict a conversation between an unchanging female driver (played by Mania Akbari) and a variety of passengers as she drives around Tehran. Her passengers include her young son (played by Akbari's real life son, Amin Maher), her sister, a bride, a prostitute, and a woman on her way to prayer. One of the major plots during the film is the driver's divorce from her (barely seen) husband, and the conflict that this causes between mother and son.
One week before her vaginoplasty, Sabrina 'Bree' Osbourne (Felicity Huffman) receives a phone call from Toby Wilkins (Kevin Zegers), a 17-year-old jailed in New York City. He asks for Stanley Schupak (Bree's birth name), claiming to be her son.
A washed-up classical pianist, Charlie Kohler/Edouard Saroyan (Charles Aznavour), bottoms out after his wife's suicide — stroking the keys in a Parisian dive bar. The waitress, Lena (Marie Dubois), is falling in love with Charlie, who it turns out is not who he says he is. When his brothers get in trouble with gangsters, Charlie inadvertently gets dragged into the chaos and is forced to rejoin the family he once fled.
The film, shot in cinéma vérité-style, depicts the final stages of the disintegrating marriage of a middle-aged couple. We are introduced to various groups and individuals the couple interacts with after the husband, Richard Forst's (John Marley), sudden statement of his desire for a divorce. Afterwards, Richard spends the night in the company of brash businessmen and prostitutes, the wife with her middle-aged female friends and an aging, free-associating playboy they've picked up at a bar. The night proceeds as a series of tense conversations and confrontations occur, illustrating where the modern American lifestyle has failed to nourish the interests, love lives, and emotional/spiritual fulfillment of these characters. Nearly everyone we meet expresses deep dissatisfaction with their lives and also a resigned attitude to this malaise. The film offers little hope, only a suggestion that in this world merely understanding that we're unhappy or dissatisfied is a revelation.