Patru frați adoptați se întorc în orașul lor natal, Detroit, când mama lor este ucisă și promit să se răzbune pe ucigași.

Pe Insula fanteziilor, într-o staţiune tropicală de lux, enigmaticul Mr. Roarke transformă în realitate cele mai ascunse visuri ale oaspeţilor săi. Dar atunci când fanteziile se transformă în coşmaruri, oaspeţii, pentru a-şi salva viaţa, trebuie să dezlege misterul insulei.

Ten-year-old Gabe was just a normal kid growing up in Manhattan until Rosemary Telesco walked into his life, actually into his karate class. But before Gabe can tell Rosemary how he feels, she tells him she will not be going to public school any more. Gabe has a lot more to learn about life, love, and girls.

When the mother of two adoptees is tipped off about the possible affair her husband may be having with one of their children, her sense of duty takes a macabre turn.

A dark comedy about a gay couple trying to adopt a newborn from a drug-addict and her abusive girlfriend.

In 1966, Deann Borshay Liem was adopted by an American family and sent from Korea to her new home in California. There, the memory of her birth family was nearly obliterated, until recurring dreams led her to investigate her own past, and she discovered that her Korean mother was very much alive. Bravely uniting her biological and adoptive families, Borshay Liem embarks on a heartfelt journey in this acclaimed film that first premiered on POV in 2000. First Person Plural is a poignant essay on family, loss and the reconciling of two identities.

They were forced to assimilate into white society: children ripped away from their families, depriving them of their culture and erasing their identities. Can reconciliation help heal the scars from childhoods lost? "Dawnland" is the untold story of Indigenous child removal in the US through the nation's first-ever government-endorsed truth and reconciliation commission, which investigated the devastating impact of Maine’s child welfare practices on the Wabanaki people.

A Bolivian by birth, who grew up with adoptive parents in the Swabian town of Mössingen, is looking for his family in the mountains of Potosí. Out of poverty, his mother gave the little boy away when he was just a few months old. The search carries a story that goes far beyond personal fate. Because Manuel was born in a region known for the ruthless exploitation of silver. It's a film about identity, homeland and equal opportunities.

Questions of race, identity and heritage are explored through the lives of young American women growing up as adoptees from China. These four distinct individuals reflect on their experiences as members of transracial families.

Kati Pohler was abandoned in a market in China when she was three days old. Her parents left a note saying they would meet her on a famous bridge 10 or 20 years later. When the time arrived, it became a huge story in China, but Kati was living in America and had no idea. This is how she finally met her biological family.

Explores racism in America through the lives of four white families who adopt African American children and must overcome their own inherent biases to become advocates. Is there a way to fix our country's racial divide? These transracial adoptive families just might provide the answer.

From 2000 to 2008, China was the leading country for U.S. international adoptions. There are now approximately 70,000 Chinese adoptees being raised in the United States. Ninety-five percent of them are girls. Each year, these girls face new questions regarding their adopted lives and surroundings. This is a film about Chinese adopted girls, their American adoptive families and the paradoxical losses and gains inherent in international adoption. The characters and events in this story will challenge our traditional notions of family, culture and race.

A documentary examines the claims the Tuohy family have made about adopting Oher for over a decade, casting scrutiny on the conservatorship they put in place which has now been terminated by a judge. Oher’s litigation with the Tuohys continues, with the latter filing a sworn document on November 8 that they paid Oher more than $138,000 in profits from the film. Oher is expected to file any counterclaims by the end of November.