Trouble is my middle name

Private eye Roland Drake cracks cases and romances femme fatales in 1940's Los Angeles while corrupt cop Det Barry Tate rules the city. A tale told in the classic style of film noir. Drake has fallen on hard times in a harsh world. He has been evicted from his office and disgraced by a missing persons case. Ruined in the public eye and with the police. it seems like it's all over for Roland Drake. Then, redemption walks in - with curves. The owner of those curves is a sexy, dark haired beauty named Katherine Montemar. She wants his help. The chemistry is immediate and her concern for the disappearance of her family members pulls him into her case - and into bed.

Aorere College in Auckland, New Zealand struggles to cope with truancy, poor academic achievement and the pervasive influence of gangs. With the morale of both students and teachers at an all time low, Mr Peach single-handedly persists in his belief in the kids and their right to an education. Witness his fight to keep them in school and instil a sense of their self-worth, through dogged compassion, tough discipline, and mutual respect.

Slowed by age and failing eyesight, crack baseball scout Gus Lobel takes his grown daughter along as he checks out the final prospect of his career. Along the way, the two renew their bond, and she catches the eye of a young player-turned-scout.

Thief Gaston Monescu and pickpocket Lily are partners in crime and love. Working for perfume company executive Mariette Colet, the two crooks decide to combine their criminal talents to rob their employer. Under the alias of Monsieur Laval, Gaston uses his position as Mariette's personal secretary to become closer to her. However, he takes things too far when he actually falls in love with Mariette, and has to choose between her and Lily.

Trouble in Paradise is a dysfunctional sitcom set out to explore humor as a mechanism of coping with trauma, pain, and taboos in relation to the Nakba and the Israeli occupation, by posing three sets of jokes ranging from the classical misogynistic genre to anti-jokes and culturally specific humor; in order to examine why Nakba jokes never fully evolved as a genre and entered the Palestinian mainstream. The main protagonists of the film are the artist’s parents who do not speak English and read the jokes from transliterated title cards and have went through the Nakba (1948) and the Naksa (1967) and never shared their memories from these major events.