Behind every great painting lies an even greater story

When Detective Rebecca Madsen is assigned to a grisly homicide case, a fingerprint leads her to a shocking suspect: Jack Sylvane, a former Alcatraz inmate who died decades ago. With her investigation impeded by government agent Emerson Hauser, Madsen teams up with Alcatraz expert and comic book enthusiast Dr. Diego Soto. They both soon discover that Sylvane is not only alive, but he’s loose on the streets of San Francisco, leaving bodies in his wake, and does not appear to age. With the inclusion of Agent Hauser, they realize that Sylvane is only a small part of a much larger, more sinister present-day threat. For while he may be the first, it quickly becomes clear that Sylvane won’t be the last prisoner to reappear from Alcatraz.

After the death of 11 climbers, Austrian Heinrich Harrer (Brad Pitt) decides to add glory to his country and to the German pride by climbing Nanga Parbat in British India, and leaves his expectant wife behind. Egoist and a loner, he does not get along with others on his team - but must bend to their wishes after bad weather threatens them. Then WWII breaks out, they are arrested and lodged in Dehra Dun's P.O.W. Camp. He attempts to break out in vain several times, but finally does succeed along with Peter Aufschnaiter (David Thewlis), and end up in the holy city of Lhasa - a place banned to foreigners. They are provided food and shelter, and Peter ends up marrying a tailor, Pema Lhaki, while Heinrich befriends the Dalai Lama. He meets regularly to satiate the child's curiosity about the world, including Jack the Ripper and 'yellow hair'; in return he is exposed to teachings of Lord Buddha and even constructs a movie theater…

Germany in the 1970s: Murderous bomb attacks, the threat of terrorism and the fear of the enemy inside are rocking the very foundations of the yet fragile German democracy. The radicalised children of the Nazi generation lead by Andreas Baader, Ulrike Meinhof and Gudrun Ensslin are fighting a violent war against what they perceive as the new face of fascism: American imperialism supported by the German establishment, many of whom have a Nazi past. Their aim is to create a more human society but by employing inhuman means they not only spread terror and bloodshed, they also lose their own humanity. The man who understands them is also their hunter: the head of the German police force Horst Herold. And while he succeeds in his relentless pursuit of the young terrorists, he knows he's only dealing with the tip of the iceberg.

The Celts were the first masters of Europe. Their leaders were men and women of legend: Arthur of the Britons, the warrior queen Boudica and Vercingetorix the Gaul. They had powerful priests called Druids who memorised the secret knowledge of generations.

Film historian William K. Everson once observed that the secret to the success of Cecil B. DeMille's 1934 Cleopatra is that DeMille subtly reshaped the known historical events into a contemporary "gold-digger makes good" scenario. Exhibiting the same determination with which Barbara Stanwyck sleeps her way to the top in 1933's Baby Face, Queen Cleopatra (Claudette Colbert) uses her feminine wiles to become sole ruler of Egypt.

There is a moment in The Mill & the Cross in which the power of art, in particular sacred art, to capture the eternal in the hugger-mugger of ordinary life — even in the most horrific and seemingly meaningless events — is revealed with stunning clarity. Andr Bazin, the great Catholic film critic and theorist, wrote about the mission of art to rescue the world from transience and corruption, to capture moments and events in time and space before they slip into the irretrievable past, and so bear witness to the hand of God in creation. I don’t know if I’ve ever seen this idea more resoundingly affirmed than in The Mill & the Cross.