Social & External
Desperate for a clue to a mysterious case, an Investigator pushes for a last-minute interview with his only witness: a corrupt A.I. Now the Investigator has 10 minutes to find out what the A.I. knows before it is dismantled by the scientists.
While teenagers John and Tom, who live in a refugee camp in Guinea Conakry, go from housebreaking to robbery in order to survive, Satou, similarly to many other destitute young women, turns to the streets. Things go from bad to worse and Tom - soon followed by John - gets stuck in a downward spiral of extreme violence. Will Mémé their grandmother and also a refugee, be able to save them?
Cinderella escapes at midnight, leaving behind one of her glass slippers. In the days that follow, the gay prince can't give up the idea of completing the pair.
A matchbox collection unites a lonely woman and her cat.
A woman wakes up hanging upside down. When she screams for help, a phone rings and a voice helps her escape.
‘A beautiful, mysterious yet satisfying optical illusion…celebrates the early passing of a steam on the Thames. Using freeze-frame techniques, elaborate dissolves, and most of the resources on the optical table, this picture is, amongst other things, a Turner come to life. Rimmer’s concern with the surface nature of the film is most evident in this work which, in spite of its filmic complexity, is incredibly simple.’ — Donald Richie. Preserved by the Academy Film Archive in partnership with Pacific Cinematheque in 2013.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).
6-18-67 is a short quasi-documentary film by George Lucas regarding the making of the Columbia film “Mackenna's Gold”. This non-story, non-character visual tone poem is made up of nature imagery, time-lapse photography, and the subtle sounds of the Arizona desert.
For First Nations communities, the headdress bears significant meaning. It's a powerful symbol of hard-earned leadership and responsibility. As filmmaker JJ Neepin prepares to wear her grandfather's headdress for a photo shoot she reflects on lessons learned and the thoughtless ways in which the tradition has been misappropriated.
A newbie of the criminal underworld is tasked to transfer and extract some mysterious data, but they bit off more than they can chew.
Fate has brought them together and nothing and nobody seems to be able to stop them: Romane and Ally speed off into the night on their motorcycle. And straight to their doom when they stop at a run-down petrol station. A tough fight for survival begins.
A film that conveys some of Peter Wessel Zapffe’s philosophical ideas.
It is 1941. It is winter. The sky is grey and a mist hangs over a typical small fishing town on the Atlantic coast of France. But things are not what they seem, and when something strange and beautiful washes up on the shore their lives will change forever.
Where Hazel Met the Villain is a 1914 movie starring Roscoe Arbuckle and Phyllis Allen.
A dinner party of three couples careens into uncharted territory when the hosts make a shocking proposal. Tensions mount as this evening among friends puts each marriage to the test.
Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.
Pierre is a very shy man in his sixties, with no family or friends and who just retired. What will he do now?
When his father dies, Tito stars facing problems that will help him find himself.
