Henry Altmann (Robin Williams) se naštvaný jako obvykle probudí s bolestí hlavy a spěchá do nemocnice. Dozví se, že jeho lékař odjel na dovolenou, a tak se na něj podívá zastupující lékařka Sharon Gill (Mila Kunis), která se sama cítí špatně, od doby co její milovaná kočka skočila z okna jejího bytu a zahynula. Sharon při setkání s podrážděným Henrym, který jí nadává, prasknou nervy a řekne mu, že mu zbývá jen 90 minut života. Henry se vzápětí snaží napravit všechny křivdy, které udělal ve svém životě. Podaří se Sharon najít Henryho a říct mu pravdu, než ...
Obraz rozdělený na dvě části, manželský pár, dvě postavy, které se pomalu ztrácejí nejdříve ve svém bytě plném knih a vzpomínek, následně i ve svých vlastních myslích.
Sugestivní portréty starých lidí z Liptova a Oravy, kteří dokážou i ve stavu civilizačního chaosu a nejistoty žít vnitřně svobodní. Tvůrci filmu, režisérovi a scenáristovi Dušanu Hanákovi, inspirovanému fotografickými cykly Martina Martinčeka, se s výjimečnou citlivostí podařilo zachytit jedinečnost sledovaných postav, jejich svérázné postoje k životu i vzácnou morální čistotu. (NFA)
A lonely and elderly widower struggles to come to terms with the loss of his wife and the circumstances surrounding her death. When he visits her grave, he encounters a little girl who shows him the path to healing and fills him with hope.
Janneke has been working as a volunteer in palliative terminal care for over twenty years, both in the hospice and in people's homes. In The Night Watchman we see Janneke both in her daily life and while waking. Scenes in which surprising parallels and paradoxes show Janneke's position in her life and how they seem to embrace death at first sight.
Luz, a Filipina interpreter, takes a call from Dr. Femi Balogun to discuss the end-of-life options for Remedios, an elderly Filipina woman in the hospital ICU during the early months of the COVID pandemic.
Röbi has lung cancer and only a few months to live. He does not want chemotherapy or radiation. The film accompanies Röbi on the last metres of his life.
Brussels, La Monnaie Opera House. Three people near the end of their lives meet with choreographers, actors and musicians. They take part in a unique experience which involves music, dance and silence. Their journey becomes a tribute to the fragility of the human condition, between reality and representation, tragedy of the body and freedom of the spirit. Together they question their own relationship with death.
Lou Colpé has been filming her grandparents since she was 15. In the process of this intense relationship, she notices some disconcerting signs in her grandmother: Alzheimer’s is slowing her down. A new film begins, a tougher one: the story of a couple that must face a tremendous challenge. Struggling against the tide of oblivion, the task of filmmaking becomes the ultimate act of resistance. Trying to retain the last images of her grandparents, an intimate conversation begins and echoes through the songs that play on the radio, conjuring lost stories and memories.
A love that seems to be eternal begins to end. Aurelio will do everything possible to make his inheritance fall into the hands of the love of his life, Ricardo, once he dies.
Christopher Kerr is a hospice doctor. All of his patients die. Yet he has cared for thousands of patients who, in the face of death, speak of love and grace. Beyond the physical realities of dying are unseen processes that are remarkably life-affirming. These include dreams that are unlike any regular dream. Described as "more real than real," these end-of-life experiences resurrect past relationships, meaningful events and themes of love and forgiveness; they restore life's meaning and mark the transition from distress to comfort and acceptance.
When filmmaker Debra Chasnoff faces stage-4 cancer, she turns her lens on herself and the disease. What emerges is a portrait of her extended LGBTQ family —a story about hanging on while letting go.