2002, Park Circus, 95 min, USA, Dir: Paul Thomas Anderson

Adam Sandler gives one of the strongest, most nuanced performances of his career in his Golden Globe-nominated portrayal of Barry, the lonely, rage-filled owner of a novelty plunger company courted by shy, fellow troubled soul Lena (Emily Watson). Both beautifully romantic and tensely thrilling, PUNCH-DRUNK LOVE is a surreal fever dream following Barry and Lena’s whirlwind love story as they battle a wide array of threats to their relationship, ranging from a violent phone-sex hotline “supervisor” (Philip Seymour Hoffman) to their own temperaments. Anderson won the Best Director award at Cannes in 2002 for his highly inventive, aesthetically gorgeous portrait of innocent love contrasted against a world of corruption. Edited by Leslie Jones.

1993, Morgan Creek, 120 min, USA, Dir: Tony Scott

Director Tony Scott and screenwriter Quentin Tarantino collaborate for a characteristically over-the-top, stylishly haywire crime romance, following the explosive marriage of comic store clerk Clarence (Christian Slater) and prostitute Alabama (Patricia Arquette), who inherit a suitcase of cocaine on their wedding day. When the couple tries to sell the drugs, a slew of Hollywood’s hardest and most flamboyant gangsters (including Christopher Walken, James Gandolfini and Gary Oldham) starts gunning for the star-crossed lovers. With an estimable and delightfully tweaked-out supporting cast headed by Dennis Hopper, Val Kilmer, Brad Pitt and Samuel L. Jackson.

2012, 94 min, Ireland, Dir: Terry McMahon

To an outsider, Charlie Barnum’s life is picture-perfect: He is successful in work, marriage and friendship. But in reality Charlie’s business is shrinking and he’s caught up in an affair with his best friend’s wife. While driving to a conference one day, Charlie accidentally kills a girl in a hit-and-run. Unsure of what to do with the terrible predicament facing him, Charlie uses a deck of cards to determine his fate. The first film to be entirely conceived via Facebook, this pitch-black, highly controversial comedy made love-it-or-hate-it waves at SXSW 2011.

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