Tangerine

The marriage of Javier and Patrizia works very well, especially when they make love while watching Lola on the videocassette in very erotic poses and provocative gestures. In the end it is discovered that Lola is his lover and he married Patrizia only for hunting her fortune and Lola is not Lola but Pedro. And he is a bisexual who dominates Javier's will, until he leads him to disaster out of ambition, while Patrizia and a very dear friend go to rest in Ibiza.

The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.

A guy's life is turned around by an email, which includes the names of everyone he's had sex with and ever will have sex with. His situation gets worse when he encounters a femme fatale (Ryder) who targets men guilty of sex crime.

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A gang of crooks wrestles with the temptation to rob the bank that they now manage.