Five feature-length action adventures based on the Marvel comic.

In 'X-Men' (2000), mutants Professor Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) are former friends, but look set to become mortal enemies when fascist US senator Robert Frank Kelly calls for the registration of all humans with abnormal powers. While telepath Xavier, who runs an altruistic academy for superhuman 'X-Men', wishes to enlighten non-mutants and break down the prejudices which divide them, Magneto believes that the only solution is for the mutants to take over. Wolverine (Hugh Jackman) - an aggressive loner with an admantium skeleton and the ability to heal his body of any wound - and teenager Rogue (Anna Paquin), who can absorb the life force of others simply by touching them, are selected by Xavier to join his academy, but it isn't long before Magneto's followers are attempting to capture them so that they can assist in his plan for world domination.

In the sequel, 'X-Men 2' (2003), Xavier, Wolverine and the X-Men find themselves in the firing line after a failed assassination attempt on the president points the finger at the school. It was in fact the mysterious teleporter Nightwalker (Alan Cumming) who ordered it, and, in an attempt to clear their names, the X-Men are led into a trap set by the evil William Stryker (Brian Cox), a mysterious scientist apparently working for the government. As it soon becomes evident that Stryker's agenda is to destroy all mutants, the X-Men need to call in the help of many of their old friends and foes, including Magneto, if they are to stop him.

In the third film, 'X-Men: The Last Stand' (2006), the mutants are given the option of giving up their powers and becoming human after a private laboratory supported by the government finds a way to use the DNA of a powerful boy to correct the mutants. However, Magneto opposes and decides to join a force to fight against the government and kill the mutant boy. Meanwhile, Jean Grey (Famke Janssen) resurrects, uncontrolled by Xavier, and with the personality of the powerful Dark Phoenix. She destroys Cyclops (James Marsden) and Xavier and allies herself to the evil forces of Magneto, making them almost invincible.

The fourth film in the franchise, 'X-Men: Origins - Wolverine' (2009) is a prequel to the other three films. Hugh Jackman reprises his role as Wolverine, who, some 20 years before the action of the original movie, is seeking revenge on his half-brother Victor Creed (Liev Schreiber) for the death of his girlfriend, and eventually signs up to the ominous Weapon X programme.

Finally, 'X-Men: First Class' (2011) charts the beginning of the saga, following Professor X (James McAvoy) and Magneto (Michael Fassbender) through their formative years in the 1960s as they come to terms with their newfound superpowers. Initially close friends who work together to fight against evil, the two men are driven apart by a conflict of opinion that ultimately leads to the eternal war between Magneto's Brotherhood and Professor X's X-Men.

A double bill of fast-paced action thrillers.

Taken (2008)
Liam Neeson stars as Bryan Mills, a former CIA secret agent living in the US, who is obliged to resurrect the skills he learned in his old job after his estranged 17-year-old daughter Kim (Maggie Grace) is kidnapped by sex slave traffickers while travelling with a friend in Europe.

Taken 2 (2012)
Murad (Rade Serbedzija), the father of a kidnapper killed by Mills (Neeson) in the first film, makes a bid for retribution by taking Mills and his wife (Famke Janssen) hostage in Istanbul. Now their daughter, Kim (Grace), must swing into action and act swiftly to save her parents.

The marriage between flowers and fashion has never been more pronounced than when seen in the work of Yves Saint Laurent. This retrospective examines Yves Saint Laurent’s use of flowers from their symbolism to their fruition on the runway.

Flowers in every form inspired fashion designer Yves Saint Laurent, serving as a leitmotif in his work. His passion for plants manifested itself in countless patterns and techniques, and he adorned women in floral appliqués, prints, and embroideries. From a thousand and one rose buds to sprigs of lily of the valley, from an avalanche of bougainvillea to delicate poppy touches, and from sheaves of wheat to majestic lilies, nature was an essential part of his visual palette.

Through the discerning eyes of Olivier Saillard, this veritable garden of Yves Saint Laurent’s designs―culled from a broad range of styles―metamorphoses into a bouquet of flowering silhouettes. Under the direction of Elsa Janssen and Alexis Sornin, essays from Emanuele Coccia, Marc Jeanson, and Serena Bucalo Mussely explore, respectively, the symbolism of flowers, characteristics of his recurring prints, and the designer’s signature use of flora in accessories.

This book provides the first comprehensive appraisal of the paradigm shift towards mandatory sustainability requirements in EU public procurement law. Traditionally, EU public procurement law focused on ‘how to buy’, dictating procedural rules so that public buyers in the Member States did not discriminate against suppliers and service providers from other Member States. Mandatory green and social requirements mean that, with a view to achieving sustainable development goals and mitigating climate change, the EU will limit this discretionary power for public buyers, pushing them to acquire more sustainable goods and services. Based on legal analysis informed by economic perspectives, the book aims to contribute to an understanding and critical discussion of the EU legislator’s move towards regulating ‘what to buy’. The book discusses the role of the Public Procurement Directives in relation to this paradigm shift, as well as various other sectoral legislative instruments that have been revamped or newly introduced in light of the European Green Deal. The paradigm shift is analysed from different perspectives, including subsidiarity, alternative regulation, economics and public purchasing. The book includes novel sectoral studies on transport, food, clothing, and construction, discussing how change is taking place and what its major challenges are for the future. Chapters on Italy, the Netherlands, Spain, and more, offer case studies of Member States that have already introduced mandatory requirements and highlight lessons learnt. This is an essential book for professionals working with public procurement law in academia and practice, and to those engaged in achieving public policy objectives in light of climate change and social injustice.

The fifth instalment of Prototype's annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between. With contributions by Alex Aspden, Ed Atkins & Steven Zultanski, Mau Baiocco, Claire Carroll, Hal Coase, James M. Creed, Iulia David, Nia Davies, Fiona Glen, Olivia Heal, Emma Hellyer, Hannah Hutchings-Georgiou, Rowe Irvin, Sasja Janssen (trans. Michele Hutchison), Bhanu Kapil, Sharon Kivland, Jeff Ko, Prerana Kumar, Grace Connolly Linden, Dasha Loyko, Nasim Luczaj, Ian Macartney, So Mayer, Catrin Morgan, Ghazal Mosadeq, Kashif Sharma-Patel, Helen Quah, Dipanjali Roy, Leonie Rushforth, Stanley Schtinter, Lutz Seiler (trans. Stefan Tobler), Madeleine Stack, Malin Stahl, Corin Sworn, Olly Todd, Yasmin Vardi, Kate Wakeling, Nathan Walker, Ahren Warner, Stephen Watts & Rojbin Arjen Yigit

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.