7 Movies Directed by Richard LaGravenese

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Judith Nelson quit her medical studies to marry. Years later, her husband, a physician, divorces her to be with another doctor. Deeply frustrated, she now lives alone in her luxury apartment in New York, looking for a new meaning for her life. Pat Francato, the janitor and lift-boy, has a troubled life himself: Gambling debts and the tragic death of his daughter took away all his spirit. One day, he and Judith meet in the right mood and a fragile friendship starts to grow. They can help each other to get on their feet again. But one false move could destroy everything they built so carefully.

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The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.

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Paris, je t'aime is about the plurality of cinema in one mythic location: Paris, the City of Love. Twenty filmmakers have five minutes each; the audience must weave a single narrative out of twenty moments. The 20 moments are fused by transitional interstitial sequences and also via the introduction and epilogue. Each transition begins with the last shot of the previous film and ends with the first shot of the following film, extending the enchantment and the emotion of the previous segment, preparing the audience for a surprise, and providing a cohesive atmosphere. There's a reappearing mysterious character who is a witness to the Parisian life. A common theme of Paris and love fuses all.

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Holly Kennedy is beautiful, smart and married to the love of her life - a passionate, funny, and impetuous Irishman named Gerry. So when Gerry's life is taken by an illness, it takes the life out of Holly. The only one who can help her is the person who is no longer there. Nobody knows Holly better than Gerry. So it's a good thing he planned ahead. Before he died, Gerry wrote Holly a series of letters that will guide her, not only through her grief, but in rediscovering herself. The first message arrives on Holly's 30th birthday in the form of a cake, and to her utter shock, a tape recording from Gerry, who proceeds to tell her to get out and "celebrate herself". In the weeks and months that follow, more letters from Gerry are delivered in surprising ways, each sending her on a new adventure and each signing off in the same way; P.S. I Love You. Holly's mother and best friends begin to worry that Gerry's letters are keeping Holly tied to the past, but in fact, each letter is pushing her further into a new future. With Gerry's words as her guide, Holly embarks on a journey of rediscovery in a story about marriage, friendship and how a love so strong can turn the finality of death into a new beginning for life.

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It's 1994 in Long Beach, California. Idealistic Erin Gruwell is just starting her first teaching job, that as freshman and sophomore English teacher at Woodrow Wilson High School, which, two years earlier, implemented a voluntary integration program. For many of the existing teachers, the integration has ruined the school, whose previously stellar academic standing has been replaced with many students who will be lucky to graduate or even be literate. Despite choosing the school on purpose because of its integration program, Erin is unprepared for the nature of her classroom, whose students live by generations of strict moral codes of protecting their own at all cost. Many are in gangs and almost all know somebody that has been killed by gang violence. The Latinos hate the Cambodians who hate the blacks and so on. The only person the students hate more is Ms. Gruwell. It isn't until Erin holds an unsanctioned discussion about a recent drive-by shooting death that she fully begins to understand what she's up against. And it isn't until she provides an assignment of writing a daily journal - which will be not graded, and will remain unread by her unless they so choose - that the students begin to open up to her. As Erin tries harder and harder to have resources provided to teach properly (which often results in her needing to pay for them herself through working second and third jobs), she seems to face greater resistance, especially from her colleagues, such as Margaret Campbell, her section head, who lives by regulations and sees such resources as a waste, and Brian Gelford, who will protect his "priviledged" position of teaching the senior honors classes at all cost. Erin also finds that her teaching job is placing a strain on her marriage to Scott Casey, a man who seems to have lost his own idealistic way in life.

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Teenager Ethan Wate is obsessed with his urge to finish high school and go on to college in order to leave the small town of Gatlin, South Carolina behind, until a mysterious girl begins to inhabit his dreams. When he meets Lena Duchannes, a newcomer who has just enrolled in his school, Ethan knows she is the girl in his dreams. Lena is rejected by the rest of her classmates for being the granddaughter of Macon Ravenwood, whom the town's superstitious residents consider to be a devil-worshiper. But Ethan gives her a ride anyway and they fall in love. Lena reveals to her new boyfriend that she is a witch, and that on her sixteenth birthday she will be claimed by either the forces of light or of darkness. She will remain in the light, but only if she does not remain in love with Ethan. To make matters worse, her evil mother, Sarafine, is casting spells to push Lena to the dark side. Ethan joins her in a search to find a magic spell to save their doomed love. Will the lovers succeed?

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The Last 5 Years by Tony award winning composer and lyricist Jason Robert Brown is a musical deconstruction of a love affair and a marriage taking place over a five year period. Jamie Wellerstein is a young, talented up and coming Jewish novelist who falls in love with Cathy Hiatt, a Shiksa Goddess struggling actress. Their story is told almost entirely through songs using an intercutting time line device; all of Cathy's songs begin at the end of their marriage and move backwards in time to the beginning of their love affair while Jamie's songs start at the beginning of their affair and move forward to the end of their marriage. They meet in the center when Jamie proposes.