DOCSLIB.ORG

Brochure Film Fest Option 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brochure Film Fest Option 3 th 8 18 European Film Festival March - July 2013 celebrating women Coimbatore Bangalore Pune Chennai Goa Mumbai New Delhi Kolkata Hyderabad Chandigarh Jodhpur th 1 8 European Film Festival celebrating women Women of wisdom, of beauty, of power, of a myriad natures – how destitute would be a world without them! From Lakshmi and Saraswati, Aphrodite and Athena, n Venus and Minerva, gods and men have praised the female of the species in declarations of love, in prayer, in song and in theatre. The 18th edition of the e European Union Film Festival (EUFF) comes to India with the topical theme "Celebrating women". m This time it will be hosted in eleven cities – starting on the 8th March in Coimbatore o and touring for the next four months, till the end of July, in Bangalore, Chennai, Goa, Pune, Mumbai, Delhi, Hyderabad, Kolkata, Chandigarh and Jodhpur. w The visitor will have the opportunity to watch a selection of 24 films that have not been screened in India yet. The films will all be screened in national languages, with g subtitles in English. Among them there will be languages like Bulgarian, Finnish or Lithuanian – languages that maybe many Indians will hear for the first time and n which will, more clearly than anything else, portray Europe's diversity. i t Women's stories often remain untold, overshadowed by other happenings and a matters. But today women are raising their voices with increasing persistence, r demanding to be seen and heard. This festival would like to join the chorus of voices and through the perspective of the heroines' individual stories share the very b different lives of women. The films showcase different aspects, nuances and sometimes even the hardships of being a woman. Some of them are comedies, e some are dramas, and some are unclassifiable just as life itself is. But in the end they l narrate engaging stories that reach out to men and women alike, to young adults as e well as to elders. c The schedule of the EUFF will be published on the EU Delegation website and Facebook page. There you will also find the electronic version of this booklet with the synopses of all films. www.facebook.com/EUCulturalEventsinIndia http://eeas.europa.eu/delegations/india o h n t o r a l o p i t n l w A d a o l o W p i a c t i l s s e A J , s n e s o r B r e t 2008 - Col - 109mn e P War photographer Grace, devastated by a violent incident in Iraq, Producer Heino Deckert, Ma.Ja.De Fiction Cast Magaly Solier, Jasmin Tabatabai, Olivier Gourmet, y renounces her profession. Her Belgian husband, Max, is a cataract b Behi Djanati Ataï, Edgar Condori, Sonia Loaiza, Edgar surgeon working at an eye clinic in the high Andes of Peru. Nearby, the Quispe, Norma Martinez, Rodolfo Rodríguez d villagers of Turubamba succumb to illnesses caused by a mercury spill e t from a local mine. Saturnina, a young woman in Turubamba, loses her c fiancé to the contamination. The villagers turn their rage on the foreign e doctors, and in the ensuing riot Max is killed. Saturnina takes drastic r i measures to protest against the endless violations towards her people D and their land. Grace sets out on a journey of mourning to the place of Belgium Max's death. ALTIPLANO is a lyrical and probing film about our divided th but inextricably linked world. 1 8 European Film Festival ð v g å e ÷ s n å t i â o î n K ä e r í v a è t ð i ò E ó m l ñ i l ò i D î t y à ð b g î d Ë n e i t c n e r r i o D M 2011 - Col - 93mn m Producer Svetoslav Doychinov, Galina Markova, Dimitar Nowadays in Sofia a 30-year-old lady called Lora encounters an o Kotsev r old mystery which changes her life. She receives two packages f Cast Milena Nikolova - Mllenita, Hristo Petkov, Dimo containing two mysterious dice each. They have the power to fulfil Aleksiev, Iva Gotcheva, Georgi Petrov, Marten Roberto, any wish of their possessor. Lora is chased, fired from work, a Yulian Kovalevski kidnapped, etc., all because of the dice. In one day only Lora r experiences all the different emotions of curiosity, joy, fear, o despair, love. Her friends and familiar places change drastically. L She has less than 24 hours to decide whether to believe or not in the old legend of the miraculous dice and to re-discover her usual surroundings in an unusual way. Above all, she has to find love - Bulgaria the ultimate miracle. celebrating women i t s i s l e o l n e j a u T N l e c i B l A l y r b i d e t G c e r i e D l t t i L 2007 - Col - 95mn The story of one day in the life of Julie - professional translator, who has just Producer Jan Sverak moved into a new house with her successful husband Richard and is supposed Cast Iva Bittova, Karel Roden, Ivan Obalia, to live the perfect life of a happy family - sets you into an upside down tour Martha Issova Portray, Miloslav Konig, Miroslav through the desires of a mother, wife and successful, though, not necessarily Krobot, Anna Siskova, Natalia Drabiscakova, satisfied woman. Buckling beneath the weight of a routine and a rather Igor That's, Sabina Remundova, Lenka unsatisfying marriage, Julie slips into a gentle mid-life crisis catalyzed by her Vlasakova, Nina Diviskova, Pavlina Storkova, discovery of the death of her favorite vocalist, blues legend Nina Simone. In low- Igor Bares, Vera Uzelacova, Josef Wiesner key desperation and on the spur of the moment, she decides to purchase a piano and embarks on a colourful journey through the streets of Prague to fulfill her inner dreams. But first she has to resolve her past and present if she is to Czech Republic start the new life she desires. th The one day life story written and directed by Alice Nellis and produced by Oscar 1 8 European winning director Jan Svìrák presents in a gentle way the various shapes of love Film Festival and life’s desires. t s e u e i a l l v p s p d A n u a Z a r l e t e p i P p n i t r A a M y b d e t c e r i 2009 - Col - 85mn D Producer Mikael Christian Rieks Critically acclaimed actress Thea Barfoed has gone through Cast Paprika Steen, Michael Falch, Sara Marie Maltha, Shanti turmoil which has resulted in a divorce and the loss of custody of Roney, Otto Leonardo Steen Rieks, Noel Koch-Søfeldt, Malou her two boys. She now wants to break with the past, regain control Reymann, Uffe Rørbæk, Nanna Tange over her life and get her children back. Her ex-husband Christian is quickly persuaded by her tough and manipulative but charming personality and she must prove to both herself and him that she is capable of getting her life back on track. As Thea is up against the rigorous demands of stage life and a past that haunts her, she must face her inner demons while clinging to the goal she has set Denmark for herself. celebrating women 1 G Film Festival 8 e t r h European m After Five in the Forest Primeval a n y Nach fünf im Urwald; Erste Liebe – zweiter Frühling Directed by Hans-Christian Schmid growing morning. Both first parents Bavaria spontaneously After unpleasant sides an and drive up. argument A sometimes are hitches to leaves wiser the encounters to city with by her Munich extremely in the parents' search her with time to father take of members funny Anna house their , part seventeen film returns daughter in in of a on a provincial casting. the the home year-old , opposite Anna difficulties While the town has Anna next sex. her her of in Simon, JohannvonBülow Brock, SibylleC C Producer 1995 -C ast F ranka Potente,AxelMilberg,DagmarManzel,F ol -99mn Jakob Claussen,ThomasW anonica, PeterEnder , NataliSeelig,MaxUrlacher , ThomasSchmauser: öbke arina r r r a t u e ü a t t i L h h a n i v r g a i t a a u u K n a r y u S b D d s e ' t r c e e r i p D e e K d r a 2011 - Col - 98mn y Producer Mati Sepping Lucia (8) is leading a jolly and naughty Pippi-Longstocking-style e Cast Rain Simmul, Eva Klemets, Maria Avdjushko, Epp life in a small town in Estonia. Her father Kaido (35), a graveyard v Eespäev, Kertu-Killu Grenman, Ulla Reinikainen keeper, can hardly provide for the family, her mother Maria (37) is a a drunk. Then the family receives an unexpected invitation to spend r a week in Finland, in the house of the female pastor Sirpa (45). This week will change everybody's life in unexpected ways G Estonia celebrating women A n 2 n 3 i A u 2 Q n 3 a i r a M y b d e t c e r i D 2007 - Col - 88mn This story is set in that time of a girl's life, when she is no longer a child and not yet a Producer Tommy Weir woman.
Load more

Recommended publications
  • Haiku Attunement & the “Aha” Moment
    Special Article Haiku Attunement & the “Aha” Moment By Edward Levinson Author Edward Levinson As a photographer and writer living, working, and creating in Japan spring rain for 40 years, I like to think I know it well. However, since I am not an washing heart academic, the way I understand and interpret the culture is spirit’s kiss intrinsically visual. Smells and sounds also play a big part in creating my experiences and memories. In essence, my relationship with Later this haiku certainly surprised a Japanese TV reporter who Japan is conducted making use of all the senses. And this is the was covering a “Haiku in English” meeting in Tokyo where I read it. perfect starting point for composing haiku. Later it appeared on the evening news, an odd place to share my Attunement to one’s surroundings is important when making inner life. photographs, both as art and for my editorial projects on Japanese PHOTO 1: Author @Edward Levinson culture and travel. The power of the senses influences my essays and poetry as well. In haiku, with its short three-line form, the key to success is to capture and share the sensual nature of life, both physical and philosophical. For me, the so-called “aha” moment is the main ingredient for making a meaningful haiku. People often comment that my photos and haiku create a feeling of nostalgia. An accomplished Japanese poet and friend living in Hokkaido, Noriko Nagaya, excitedly telephoned me one morning after reading my haiku book. Her insight was that my haiku visions were similar to the way I must see at the exact moment I take a photo.
    [Show full text]
  • Frogpond 37.1 • Winter 2014 (Pdf)
    F ROGPOND T HE JOURNAL OF THE HAIKU SOCIETY OF AMERICA V OLUME 37:1 W INTER 2014 About HSA & Frogpond Subscription / HSA Membership: For adults in the USA, $35; in Canada/Mexico, $37; for seniors and students in North America, $30; for everyone elsewhere, $47. Pay by check on a USA bank or by International Postal Money Order. All subscriptions/memberships are annual, expiring on December 31, and include three issues of Frogpond as well as three newsletters, the members’ anthology, and voting rights. All correspondence regarding new and renewed memberships, changes of address, and requests for information should be directed to the HSA secretary (see the list of RI¿FHUVS). Make checks and money orders payable to Haiku Society of America, Inc. Single Copies of Back Issues: For USA & Canada, $14; for elsewhere, $15 by surface and $20 by airmail. Older issues might cost more, depending on how many are OHIW3OHDVHLQTXLUH¿UVW0DNHFKHFNVSD\DEOHWR+DLNX6RFLHW\RI America, Inc. Send single copy and back issue orders to the Frogpond editor (see p. 3). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku 6RFLHW\RI$PHULFDLWVRI¿FHUVQRUWKHHGLWRUDVVXPHUHVSRQVLELOLW\ IRUYLHZVRIFRQWULEXWRUV LQFOXGLQJLWVRZQRI¿FHUV ZKRVHZRUNLV printed in Frogpond, research errors, infringement of copyrights, or failure to make proper acknowledgments. Frogpond Listing and Copyright Information: ISSN 8755-156X Listed in the MLA International Bibliography, Humanities Interna- tional Complete, Poets and Writers. © 2014 by the Haiku Society of America, Inc. Francine Banwarth, Editor Michele Root-Bernstein, Associate Editor Cover Design and Photos: Christopher Patchel.
    [Show full text]
  • Haiku and Basho Post Written by Wende
    Tea Time: Haiku and Basho post written by Wende Haiku Haiku is a form of poetry that began in Japan around the 17th century. Classic Haiku poem always has seventeen syllables in 3 or 4 lines. The first and last lines have five syllables each, and the middle line(s) has seven syllables. Haiku poems usually don’t rhyme, and are almost always about nature and seasons of the year. Haiku is written in the present tense, and does not have to follow punctuation and capitalization rules. Because the poet writing haiku is trying to paint an image in the mind of the reader, each word chosen needs to be strong and meaningful. Basho Matsuo Kinsaku, considered the father of haiku, was born in Japan around 1644. He was one of six children in a family of samurai. As a child, he was a servant to Tōdō Yoshitada, who shared with him a love for haikai no renga, a kind of chain haiku that preceded the stand alone verses mentioned above. A poem was begun by Todo with a verse in the 5-7-5 format, called a hokku. Then Matsuo would follow that verse with a 7-7 format. This would go back and forth to create the collaborative poem. When Todo died in 1666, Matsuo’s feudal service ended and he began to spend much of his life wandering about Japan. Thus he is known as a traveler as well as a poet, the author of some of the most beautiful travel diaries ever written in Japanese. In 1680, Matsuo settled down in a small cottage.
    [Show full text]
  • A Journal of the Radical Gothic
    issue #1 gracelessa journal of the radical gothic And the ground we walk is sacred And every object lives And every word we speak Will punish or forgive And the light inside your body Will shine through history Set fire to every prison Set every dead man free “The Sound Of Freedom” Swans cover photograph by Holger Karas GRACELESS Issue one, published in February 2011 Contributors and Editors: Libby Bulloff (www.exoskeletoncabaret. com), Kathleen Chausse, Jenly, Enola Dismay, Johann Elser, Holger Karas (www. seventh-sin.de), Margaret Killjoy (www. birdsbeforethestorm.net). Graceless can be contacted at: www.graceless.info [email protected] This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to: Creative Commons 171 Second Street, Suite 300 San Francisco, California, 94105 USA What this license means is that you are free (and encouraged) to take any content from Graceless and re-use it in part or whole, or make your own work that incorporates ours, as long as you: attribute the creator of the work, share the work with the same license, and are using the product non-commercially. Note that there is a photograph that is marked as copyright to its creator, which was used with permission and may not be included in derivative works. We have chosen a Creative Commons licensing because we believe in free cultural exchange but intend to limit the power of capitalism to co-opt our work for its twisted ends.
    [Show full text]
  • Japan Animation: from Commercialism to Art SHIMAMURA Teru
    Available online at www.sciencedirect.com Procedia Social and Behavioral Sciences 2 (2010) 7327–7332 Selected Papers of Beijing Forum 2005 Japan Animation: from Commercialism to Art SHIMAMURA Teru Joshibi University of Art and Design Abstract: Guarding children from the too much influence of foreign culture, especially the influence of Western world, Chinese government has been encouraging the production of domestic animation. In China, after 2000, it was decided that more than 60 percent of animations broadcasted on TV must be products of China. Although foreign animation is obliged to be under 40 percent, most of the TV stations except CCTV would not keep the rule. This is the reason why the government decided to take this measure. There is a fact in the background that Disney animations from US and Japan animations are quite popular among Chinese children. Especially, most of the elementary school pupils in the urban area seem to watch such Japan animations as “Detective Konan”, “Ultraman”, “Chibimarukochan˄ḰḗᇣЌᄤ˅”, “Captain Tsubasa” and so on. In China, Japanese animation and Manga are estimated very high. “Doraemon˄″఼⣿˅” used to be selected as the “most humorous reading piece” in the research executed by China Social Science Institute. In Japan, the number of the animation pieces broadcasted on TV is about 2500. Including the sales of character goods, the gross sales are more than 1 trillion yens. It will be large enough to be called a “gigantic industry”. Export sales are 100 billion yens a year(half equal to the sales grade of all US movies a year, four times equal to the Japanese export steel sales to US).
    [Show full text]
  • Atlas Poetica Journal of World Tanka Poetry 33
    ATLAS POETICA A Journal of World Tanka Number 33 M. Kei, editor Grunge, editorial assistant 2018 Keibooks, Perryville, Maryland, USA KEIBOOKS P O Box 346 Perryville, Maryland, USA 21903 AtlasPoetica.org Atlas Poetica A Journal of World Tanka Copyright © 2018 by Keibooks All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by reviewers and scholars who may quote brief passages. See our EDUCATIONAL USE NOTICE. Atlas Poetica : A Journal of World Tanka, an organic print and e-journal published at least three times a year. Atlas Poetica is dedicated to publishing and promoting world tanka literature, including tanka, kyoka, gogyoshi, tanka prose, tanka sequences, shaped tanka, sedoka, mondo, cherita, zuihitsu, ryuka, and other variations and innovations in the field of tanka. We do not publish haiku, except as incidental to a tanka collage or other mixed form work. Atlas Poetica is interested in all verse of high quality, but our preference is for tanka literature that is authentic to the environment and experience of the poet. While we will consider tanka in the classical Japanese style, our preference is for fresh, forward-looking tanka that engages with the world as it is. We are willing to consider experiments and explorations as well as traditional approaches. In addition to verse, Atlas Poetica publishes articles, essays, reviews, interviews, letters to the editor, etc., related to tanka literature. Tanka in translation from around the world are welcome in the journal.
    [Show full text]
  • A Dictionary of Haiku Classified by Season Words with Traditional and Modern Methods
    A Dictionary of Haiku Classified by Season Words with Traditional and Modern Methods by Jane Reichhold AHA Books Text Copyright © 1992 by Jane Reichhold Haiku Copyright © 1983, 1988, 1992 by Jane Reichhold Book Copyright © 1992 by AHA Books Web Version Copyright © 2000 by Jane Reichhold Paper publication as: ISBN: 0-944676-8-1 This edition of A Dictionary of Haiku was made with permission from the web version published in 2000 and available at http://www.ahapoetry.com/aadoh/adofinde.htm Introduction The Japanese have long wondered how writers in English could ever hope to write haiku when one of the most-basic writing tools was unavailable to them. Every Japanese writer owns one or more saijiki (sigh-gee-key). A saijiki is a dictionary of haiku in which the poems are arranged, not alphabetically, but by seasons. Within the five seasons (New Year's Day has a separate section) are usually the seven different categories: Season (weather aspects indicative of that time of year), Celestial Phenomena (stars, sun and moon), Terrestrial Phenomena (geographical aspects such as mountains, fields, rivers, etc.,), Events (or holidays), Life (terms dealing with the daily life of humanity), Animals (deemed appropriate for each season), and Plants (often those most conspicuous for the season). Within each of these categories the poems are listed in a prescribed order of appearance according to the natural world. In spring (and saijiki traditionally start with the first and best season) plum blossoms are listed before cherry blossoms because the plum blooms first; slush comes before new grass. In many cases there is a natural sequence; in others - as in animals - it is very arbitrary.
    [Show full text]
  • Annual Selection 2019 the Fine Line Between Too Much and Too Little
    Annual Selection 2019 The fine line between too much and too little Selections and comments by Dhugal J. Lindsay While selecting haiku, I often come across submissions where the content has been pared down to only a few words. Haiku is a form of poetry and should read as such! Putting all one’s attention into making a haiku as short as possible, with no unnecessary words, is not necessarily a good thing. Words deemed “unnecessary” in the eyes of the author, who experienced the haiku firsthand, are sometimes necessary to give readers full access to that same experience. Concreteness is integral to our being able to access a haiku as an experience rather than it remaining an abstraction. Both too few words and too many words of wide, non-specific meaning (e.g., “bird” instead of “hawk” or even better, “sparrow hawk”) in a haiku are barriers to sharing your haiku experience. Sometimes words are necessary not for their meaning per se, but rather because they heighten an emotion or otherwise increase the poesy of a haiku. Too much alliteration, perfect or imperfect rhyme, and other poetic artifices can detract from the experience by drawing too much attention to its presentation, but if those artifices can be incorporated without standing out and taking over the poem, then well and good! The following haiku, selected in 2019, are grouped by author and sorted according to the publication date. Most have short comments appended. Thanks to all our readers for their submissions and we look forward to more of your haiku in the year to come.
    [Show full text]
  • The Tale of the Princess Kaguya
    A Film by Isao Takahata The Tale of The Princess Kaguya The Tale of The Princess Kaguya A film by Isao Takahata French and International Press: Myriam Bruguière BCG [email protected] Wild Bunch – Cannes Sales Office 4 La Croisette - 1st floor CAROLE BARATON [email protected] (In front of the Palais) GARY FARKAS [email protected] +33 (0) 4 93 99 06 26 VINCENT MARAVAL [email protected] SILVIA SIMONUTTI [email protected] NOEMIE DEVIDE [email protected] OLIVIER BARBIER [email protected] presskit and stills downloadable from www.wildbunch.eu Cast and Staff Credits Studio Ghibli, Nippon Television Network, Dentsu, Hakuhodo DYMP, Walt Disney Japan, Mitsubishi, Toho and KDDI present The Tale of The Princess Kaguya Voices Aki Asakura Kengo Kora Takeo Chii Nobuko Miyamoto Atsuko Takahata Tomoko Tabata Shinosuke Tatekawa Takaya Kamikawa Hikaru Ijuin Ryudo Uzaki Shichinosuke Nakamura Isao Hashizume Yukiji Asaoka (Special Appearance) Tatsuya Nakadai Chief Executive Producer Seiichiro Ujiie Deputy Chief Executive Producer Yoshio Okubo Planning Toshio Suzuki Based on Japanese Folktale “The Tale of the Bamboo Cutter” Original Concept and Screenplay Isao Takahata Screenplay Riko Sakaguchi Music Joe Hisaishi Theme Song “Inochi no Kioku” Lyrics, Music and Performed by Kazumi Nikaido Songs “Warabe Uta” “Tennyo no Uta” Lyrics by Isao Takahata and Riko Sakaguchi Music by Isao Takahata 2 Character Design Cast and Staff Credits and Directing Animator Osamu Tanabe Art Director Kazuo Oga Studio Ghibli, Nippon Television Network, Dentsu,
    [Show full text]
  • A Study on Expressing Renku with 3DCG Animations and Its Evaluation
    A Study on Expressing Renku with 3DCG Animations and its Evaluation Nobuhiko TAKADA Faculty of Fine Arts and Infomatics，Kanazawa Gakuin University Kanazawa,Japan E-mail:[email protected] ABSTRACT Basyo built his orthodox style [7] [8]. This work was evaluated Recently Renku (Haikai no Renga) is getting popular as highly, but each artist made his own part independently. well as Haiku in Japan. It was built up by Basho Matsuo, who Therefore this was not made being conscious of the relevance of was the most famous Haiku poet. It is said that Kyoshi phrases that were essential aspects of Renku. In this study, we Takahama proposed the name of “Renku” to distinguish it from studied 3DCG animations which were in accordance with the “Renga” and “Haiku” in 1904. Renku meetings are held like rules of Renku (Shikimoku in Japan) and produced our own Haiku ones regularly now in each place, and in several works. It is described about Renku in chapter 2 and Conducting universities, they conduct a class exercise of Renku Renku meetings in chapter 3. And it is described about the continuously. It is very important for plural persons to work production of a 3DCG Renku animation in chapter 4 and the together cooperatively. Poetry, Tanka, Haiku and Renku are evaluation experiment of a 3DCG animation of Renku in usually composed of only letters. It sometimes happens that we chaper5. Finally conclusions are described in chapter 6. add pictures to make them more attractive and to aim at synergy by collaboration (letters and pictures). However, the study to 2.
    [Show full text]
  • Echoes Choes Hoes Oes Es S 2Compiled by Jim Kacian & Julie Warther Echoes 2 Red Moon Press © 2018 Poems Are Copyrighted in the Names of the Individual Poet
    echoes choes hoes oes es s 2Compiled by Jim Kacian & Julie Warther echoes 2 Red Moon Press © 2018 Poems are copyrighted in the names of the individual poet. All rights revert to the poet upon publication. Red Moon Press P.O. Box 2461 Winchester VA 22504-1661 USA www.redmoonpress.com ISBN 978-1718615854 This is an interactive pdf. That means where you find text in green you will find active links that will connect to relevant sites. We will try to keep these as current as possible, but things do break. Though extensive, this volume is far from complete. We have tried to contact every poet from every volume of New Res, but as you will discover, we have not always been successful. We could use your help. If you know any of the poets who do not have an updated page here, please contact them and let them know we'd love to hear from them. It is our hope that this book will evolve over time. You can purchase a grayscale print copy of echoes 2 using this link. The price you find there is the minimum price allowed by the printer. ormp Foreword to echoes 1 Somewhere midway through the third of what is now five volumes (and counting) of The New Resonance series it became apparent to us that this was more than just a collection of books showcasing emerging talent. The New Resonance Poets are a community, and we wanted that community to stay in touch with each other and abreast of each other’s work.
    [Show full text]
  • Rp.5000. /Judul GAME PC
    Rp.5000. /judul (Pesen 5 Bonus 1 berlaku Kelipatan) GAME PC 007 Blood Stone (2010) 007 Legends (2012) 1954 Alcatraz (2014) 25 To Life 3D Pool Billiards and Snooker (2015) 4PM (2014) A Story About My Uncle (2014) A Train 9 (2014) Aarklash Legacy (2013) Ace Combat Assault Horizon (2013) Adventure Park (2014) Aerofly RC7 Ultimate Edition (2014) Afrika Crop (2012) Afterfall Insanity Extended Edition (2013) Agarest Generations Of War (2013) Agarest Generations Of War ZERO (2014) Age Of Empire 2 HD (2013) Age Of Empire 2 HD The Forgotten (2013) Age Of Empire 3 + Expansion Age Of Mythology Extended (2014) Age of Pirates 2 City of Abandoned Ships (2009) Age Of Wonders 2 (2014) Air Conflicts : Pacific Carriers Air Conflicts : Vietnam (2013) Airline Tycoon 2 Alan Wake (2012) Alan Wake American Nightmare (2012) Alice Madness Return (2011) Alien Colonial Marine (2013) Alien Isolation (2014) Alien Isolation Corporate Lockdown DLC (2014) Alien Rage Unlimited (2013) Alien Vs Predator Amnesia : A Machine For Pigs Amnesia The Dark Descent Among The Sleep (2014) Anno 2070 (2011) Anomaly 2 (2013) Apache Air Assault (2010) Arcana Heart 3 ARMA 2 - Anniversary Edition (2014) Arma 3 (2013) Asetto Corsa (2015) Ashes Cricket (2013) Assasins Creed (2008) Assasins Creed 2 (2010) Assasins Creed 3 (2012) Assasins Creed 3 DLC The Infamy+ The Betrayal + The Redemption (2013) Assasins Creed Brotherhood (2011) Assasins Creed Revelation (2011) Assassins Creed IV Black Flag Gold Edition(2013) Assassins Creed IV Freedom DLC (2013) Assassins Creed Liberation HD (2014) Assassins
    [Show full text]