Sword of Vengeance

Testament of Youth is a powerful story of love, war and remembrance, based on the First World War memoir by Vera Brittain, which has become the classic testimony of that war from a woman’s point of view. A searing journey from youthful hopes and dreams to the edge of despair and back again, it’s a film about young love, the futility of war and how to make sense of the darkest times.

Cutthroat pirate William Kidd captures Admiral Blayne's treasure ship and hides the bounty in a cave. Three years later, Kidd, posing as a respectable merchant captain, offers his services to the King of England. Seeking a social position, Kidd also negotiates for Blayne's title and lands, provided he can prove Blayne was associated with piracy. Launched upon his royal mission, Kidd is unaware that Blayne's son Adam is among the crew, determined to clear his father's name.

Down-on-his-luck veteran Tsugumo Hanshirō enters the courtyard of the prosperous House of Iyi. Unemployed, and with no family, he hopes to find a place to commit seppuku—and a worthy second to deliver the coup de grâce in his suicide ritual. The senior counselor for the Iyi clan questions the ronin’s resolve and integrity, suspecting Hanshirō of seeking charity rather than an honorable end. What follows is a pair of interlocking stories which lay bare the difference between honor and respect, and promises to examine the legendary foundations of the Samurai code.

Robert Gould Shaw leads the US Civil War's first all-black volunteer company, fighting prejudices of both his own Union army and the Confederates.

Set during the early part of his reign, Ivan faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people. Sergei Eisenstein's final film, this is the first part of a three-part biopic of Tsar Ivan IV of Russia, which was never completed due to the producer's dissatisfaction with Eisenstein's attempts to use forbidden experimental filming techniques and excessive cost overruns. The second part was completed but not released for a decade after Eisenstein's death and a change of heart in the USSR government toward his work; the third part was only in its earliest stage of filming when shooting was stopped altogether.