Q: Build a movie plot around this: Who has Sandra and Petrus arrested? Abraham
A: Ten year-old Sandra is distinctly African looking. Her parents, Abraham and Sannie, are white Afrikaners, unaware of their black ancestry. They are shopkeepers in a remote area of the Eastern Transvaal and, despite Sandras mixed-race appearance, have lovingly brought her up as their white little girl.Sandra is sent to a boarding school in the neighbouring town of Piet Retief, where her (white) brother Leon is also studying, but parents and teachers complain that she doesnt belong. She is examined by State officials, reclassified as Coloured, and expelled from the school. Sandras parents are shocked, but Abraham fights through the courts to have the classification reversed. The story becomes an international scandal and media pressure forces the law to change, so that Sandra becomes officially White again.By the time she is 17, Sandra realises she is never going to be accepted by the white community. She falls in love with Petrus a black man, the local vegetable seller, and begins an illicit love affair. Abraham threatens to shoot Petrus and disown Sandra. Sannie is torn between her husbands rage and her daughters predicament.Sandra elopes with Petrus to Swaziland. Abraham alerts the police, has them arrested and put in prison. Sandra is told by the local magistrate to go home, but she refuses.Now Sandra must live her life, for the first time, as a black woman in South Africa with no running water, no sanitation, and little income. She and Petrus have two children, and although she feels more at home in this community, she desperately misses her parents and yearns for a reunion.After many more years of hardship and struggle, the chances of that reunion ever happening seem remote. But Sandra carries her father's advice with her wherever she goes: 'Never give up!'SKIN is a story of family, forgiveness and the triumph of the human spirit.

Q: Build a movie plot around this: What does the financial industry pressure on the political process? Avoid regulation
A: The subject of Inside Job is the global financial crisis of 2008. It features research and extensive interviews with financiers, politicians, journalists, and academics. The film follows a narrative that is split into five parts.The film focuses on changes in the financial industry in the decade leading up to the crisis, the political movement toward deregulation, and how the development of complex trading such as the derivatives market allowed for large increases in risk taking that circumvented older regulations that were intended to control systemic risk. In describing the crisis as it unfolded, the film also looks at conflicts of interest in the financial sector, many of which it suggests are not properly disclosed. The film suggests that these conflicts of interest affected credit rating agencies as well as academics who receive funding as consultants but do not disclose this information in their academic writing, and that these conflicts played a role in obscuring and exacerbating the crisis.A major theme is the pressure from the financial industry on the political process to avoid regulation, and the ways that it is exerted. One conflict discussed is the prevalence of the revolving door, whereby financial regulators can be hired within the financial sector upon leaving government and make millions.Within the derivatives market, the film contends that the high risks that began with subprime lending were transferred from investors to other investors who, due to questionable rating practices, falsely believed that the investments were safe. Thus, lenders were pushed to sign up mortgages without regard to risk, or even favoring higher interest rate loans, since, once these mortgages were packaged together, the risk was disguised. According to the film, the resulting products would often have AAA ratings, equal to U.S. government bonds. The products could then be used even by investors such as retirement funds who are required to limit themselves to the safest investments.Another point is the high pay in...

Q: Build a movie plot around this: Who owns the brothel? Blue
A: In the 1950s,[10] a 20-year-old woman[10] nicknamed Babydoll (Emily Browning) is institutionalized by her widowed stepfather (Gerard Plunkett) at the Lennox House for the Mentally Insane after she is blamed for the death of her younger sister. The stepfather bribes Blue Jones (Oscar Isaac), one of the asylum's orderlies, into forging the signature of the asylum's psychiatrist, Dr. Vera Gorski (Carla Gugino), to have Babydoll lobotomized so she cannot inform the authorities of the true circumstances leading to her sister's death. During her admission to the institution, Babydoll takes note of four items that she would need to attempt an escape.At the moment she is lobotomized, Babydoll slips into a fantasy world in which she is newly arrived in a brothel owned by Blue, whom she envisions as a mobster. She befriends four other dancers Amber (Jamie Chung), Blondie (Vanessa Hudgens), Rocket (Jena Malone), and Rocket's sister and "star of the show", Sweet Pea (Abbie Cornish). Dr. Gorski is envisioned as the girls' dance instructor. Blue informs Babydoll that her virginity will be sold to a client known as the High Roller (Jon Hamm), who is actually the doctor scheduled to perform the lobotomy. Gorski encourages Babydoll to perform an erotic dance, during which Babydoll further fantasizes she is in feudal Japan, meeting the Wise Man (Scott Glenn). After she expresses her desire to "escape", the Wise Man presents Babydoll with weapons and tells her that she would need to collect five items: a map, fire, a knife, a key, and a fifth, unrevealed item that would require "a deep sacrifice" but bring a "perfect victory". She then fights three samurai giants. As her fantasy ends, she finds herself back in the brothel, her dance having impressed Blue and other onlookers.Babydoll convinces her friends, including the dubious Sweet Pea, to join her in preparing an escape. She plans to use her dances as a distraction while the other girls obtain the necessary tools. During her dances, she imagines fantastic adventures that...

Q: Build a movie plot around this: What does Ballard say to his wife? Maybe the next one.
A:
Film producer James Ballard (James Spader) and his wife, Catherine (Deborah Kara Unger), are in an open marriage. The couple engage in various infidelities but, between them, have unenthusiastic sex. Their arousal is heightened by discussing the intimate details of their extramarital sex.While driving home from work late one night, Ballard's car collides head-on with another, killing its male passenger. While trapped in the fused wreckage, the driver, Dr. Helen Remington (Holly Hunter), wife of the dead passenger, exposes a breast to Ballard when she pulls off the shoulder harness of her seat belt.While recovering, Ballard meets Remington again, as well as a man named Vaughan (Elias Koteas), who takes a keen interest in the brace holding Ballard's shattered leg together and photographs it. While leaving the hospital, Remington and Ballard begin an affair, one primarily fueled by their shared experience of the car crash (not only do all of their sexual assignations take place in cars, all of Remington's off-screen sexual encounters take place in cars as well). In an attempt to make some sense of why they are so aroused by their car wreck, they go to see one of Vaughan's cult meetings/performance pieces, a re-creation of the car crash that killed James Dean with authentic cars and stunt drivers. When Transport Ministry officials break up the event, Ballard flees with Remington and Vaughan.Ballard becomes one of Vaughan's followers who fetishize car crashes, obsessively watching car safety test videos and photographing traffic collisions. Ballard drives Vaughan's Lincoln convertible around the city while Vaughan picks up and uses street prostitutes and, later, Ballard's wife. In turn, Ballard has a dalliance with one of the other group members, Gabrielle (Rosanna Arquette), a beautiful woman whose legs are clad in restrictive steel braces and who has a vulva-like scar on the back of one of her thighs, which is used as a substitute for a vagina by Ballard. The film's sexual couplings in (or involving) cars are...