Director Michael Haneke's accaimed production of Mozart's opera, recorded live at the Teatro Real de Madrid in 2013. The featured soloists include Anett Fritsch, Paola Gardina, Kerstin Avemo and Juan Francisco Gatell. Sylvain Cambreling conducts the Teatro Real Orchestra and Chorus.

In this US remake of his 1997 film 'Funny Games', director Michael Haneke delivers a savage critique on the way violence is portrayed in the media. Arriving at their remote holiday cabin in the Hamptons for a quiet vacation, George (Tim Roth), his wife Ann (Naomi Watts), and their young son Georgie (Devon Gearheart), find themselves subjected to a harrowing ordeal involving mental and physical torture, when two young, psychotic killers come calling.

Isabelle Huppert gives a performance of astounding emotional intensity as Erika Kohut, a repressed woman in her late thirties who teaches piano at the Vienna Conservatory and lives with her tyrannical mother, with whom she has a volatile love-hate relationship.

But when one of Erika's students, the handsome and assured Walter Klemmer, attempts to seduce her, the barriers that she has carefully erected around her claustrophobic world are shattered, unleashing a previously inhibited extreme and uncontrollable desire.

In French with English subtitles.

In this US remake of his 1997 film 'Funny Games', director Michael Haneke delivers a savage critique on the way violence is portrayed in the media. Arriving at their remote holiday cabin in the Hamptons for a quiet vacation, George (Tim Roth), his wife Ann (Naomi Watts), and their young son Georgie (Devon Gearheart), find themselves subjected to a harrowing ordeal involving mental and physical torture, when two young, psychotic killers come calling.

Director Michael Haneke's accaimed production of Mozart's opera, recorded live at the Teatro Real de Madrid in 2013. The featured soloists include Anett Fritsch, Paola Gardina, Kerstin Avemo and Juan Francisco Gatell. Sylvain Cambreling conducts the Teatro Real Orchestra and Chorus.

French director Pascale Ferran brings D.H. Lawrence's second and lesser-known version of LADY CHATTERLEY'S LOVER to the screen. Approaching three hours in length, the film explores its protagonist's emotional transformation.

Set in England in the 1920s, the film begins with our heroine, played by Marina Hands, saying goodbye to her husband, Clifford, who is heading off to war. Left behind on their grand country estate, Constance gets the first taste of the loneliness and isolation she will later become accustomed to when he returns home paralysed. Suddenly reduced to the role of nurse, the young woman cares for her invalid husband and listlessly putters about the large property, desperately dreaming of escape.

She finds this outlet in Parkin (Jean-Louis Coulloc'h), the deceptively brutish gamekeeper down the hill. Sceptical of Constance at first, Parkin begrudgingly produces an extra set of keys to his shed when asked, opening the door to an affair that will awaken something deeply repressed in both parties. Clifford inadvertently encourages his wife by dismissing her boredom and unhappiness as unimportant.

When the unspoken tension between Parkin and Constance eventually explodes into a fiery sexual encounter, the two embark on a journey of sexual awakening and personal discovery. LADY CHATTERLEY is beautifully filmed, providing an extremely detailed account of the heroine's visual surroundings. Scenery functions symbolically to show how Constance blooms in the aura of Parkin's love.

But as passionate and subversive as their affair is, the reality of their social positions is always present, with visual clues creating a sense of constant threat to the relationship. When Constance goes off on a carefree, extravagant holiday with her fashionable sister and others from her own class, homemade-style footage of her trip contrasts with the controlled way in which her home life is captured, and demonstrates just how far she is from that world. The film's ending is rather open-ended, suggesting several possible outcomes by calling into question how much the early-20th-century social structure will matter in the end.

Acclaimed French thriller from writer-director Michael Haneke. Georges (Daniel Auteuil) is a successful TV presenter, happily married to Anne (Juliette Binoche). Their idyllic, middle-class life is suddenly derailed when Georges starts receiving tapes through the post, from someone who has been secretly filming him and his family as they go about their daily business. Gradually the tapes become more intimate and personal, suggesting that the perpetrator is someone who knows Georges well. With the police unable to help, Georges and Anne find their comfortable existence gradually unravelling into paranoia and mistrust. Be sure to keep watching as the credits roll...

Anna (Susan Lothar) and Georg Schober (Ulrich Mühe) arrive with their son, Georgie, at their lakeside holiday home. Through their neighbour, Fred, they meet Paul (Arno Frisch) and his friend Peter (Frank Giering). However, once inside Anna and Georg's house, Peter and Paul begin to torture them, betting that in twenty-four hours they and Georgie will be dead. When Georgie manages to escape to Fred's house, he discovers that the neighbour and his wife have already been murdered: it seems that Paul and Peter are serious about continuing their 'game' to the finish.