All Films

After an open mic night, JB and KG get a message from Michael Keaton who tells them that the time-space continuum has been disrupted at the Ford's Theater in 1850 and only Tenacious D can fix it.

In order to authenticate some historical papers in a cathedral town, Oxbridge academic Anderson stays at a local hotel in room 12, initially disregarding the lack of a number 13 as provincial superstition. During the night, noise conspires to keep him awake and the historian is astonished to come face to face with door number 13. Continuing his work, a history of a reformation era witchcraft scandal emerges. The nocturnal disturbances escalate, leading Anderson with no choice but to open the door to room number 13...

Two lovers torn apart by addiction confront each other one more time at the spot where they met.

A commercial for the zombie hunting organization Zombie Unit X.

Nowadays, abandoned bicycles are a common sight in front of stations in Tokyo. The number of abandoned bicycles is unparalleled in the world, and there are concerns about how to deal with them. The protagonist is a worker who removes such abandoned bicycles. The job involves removing other people's bicycles without asking, which naturally leads to constant trouble during the work. Is it his own fault? Is the world to blame? The man begins to ask himself. The stress of his job causes him to start taking pleasure in riding his bicycle around town at night. But what he sees is nothing but a wild landscape. One night, while riding his bike as usual, the man sees something else...

A drama tale set in Mexico.

This was a "Musikladen Extra" special from Bremen TV, West Germany from 1978. It was originally released on DVD by Pioneer Artists/EME as The Best Of Musikladen-Live: Blondie. Track List: 1. X-Offender; 2. Little Girl Lies; 3. Look Good in Blue; 4. Man Overboard; 5. In the Flesh; 6. I'm on E; 7. Love at the Pier; 8. I Didn't Have the Nerve; 9. Bermuda Triangle Blues (Flight 45); 10. Kidnapper; 11. Youth Nabbed as Sniper.

Donal MacIntyre investigates the secretive world of white power music and how the money made helps fund far right political organizations in many countries, including the British National Party in the UK. In this documentary, the crew gained access to the men and women behind one of the most disturbing musical movements. It reveals how British neo-Nazis and skinheads plan to launch 'Project School-Yard' in Britain after a similar scheme was tried out in the United States. In the UK, the team follows one of the most infamous British white-power bands, Whitelaw, as they prepare for one of the biggest gigs of their career. The band are filmed on stage, with riot police surrounding the venue, performing as the forces of law and order move in to shut down their hate-filled act. The film also contains shocking images of hate rock concerts in the USA where, thanks to the first amendment protecting freedom of speech, anything goes.

A wild story about a time rabbit! Rabbit Willy lives on a farm. ‘My cage’ and ‘my carrot’ are central in Willy’s world. Through the bars of his cage he can exchange a few words with the cat, the dog and the hens. But secretly he dreams of the Wild Woods. When he by chance ends up in the Wild Woods his world is changed dramatically. He meets the wild rabbit Wilda that does not care about ‘mine’ and ‘yours’. What sort of rabbit is she really? Why is she always helping all the animals of the woods? After a dramatic encounter with an eagle Wilda needs to rest, and Willy has to help Wilda and all the other animals that come to Wildas burrow for help. It is hard work!

BBC look at whether or not Snuff films really exist. Snuff as defined by the FBI and the film is a film that shows some one being killed which was produced for gratification of the viewer who pays to see the film. The film takes a look at the start of the rumors of snuff films, the latching on by exploitation producers and how the ability of anyone to shoot video with things such as mobile phones and put them up on the Internet have made the existence of a such a film likely. A very good very reasoned film that isn't really that graphic (at least with actual footage) the film looks at the subject with filmmakers and law enforcement officials and relates the chilling tales of the people who actually set out to make a film for themselves. The key element is the profit motive since its clear that killers and other people have been using home video equipment to record their nasty deeds, we just don't know if money has changed hands. A film to make you think.

Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.

A boy encounters a trace of his lost father on tracks where time comes and goes, at a station where time stops. With the help of a mysterious projectionist, the boy and station master search for the truth of the father's image.

Every summer, many people transit by sea between France and Algeria, between Marseille and Algiers. Cars loaded to the hood... packages of all kinds... men loaded with bags and stories. At sea, we are no longer in France and not yet in Algeria, and vice versa. From the singular confines of the boat, in the back and forth and the parenthesis of the journey, the crossing puts back in the heart of the passage these women and men brought up.

Short behind-the-scenes documentary on Roman Polanski's "Oliver Twist."

"We´re going to exaggerate shamelessly." This sentence is spoken over black film by Lucy McEvil, transvestite, singer and passionate resident of Vienna, at the beginning of Wolfgang Muhr´s short portrait. Hyperbole is a wholly suitable leitmotif for a film in which an artist is shown portraying characters of the opposite sex, as the representation´s exaggeration, ironic refraction and displacement is what differentiates the act of dressing in drag from mere imitation of a certain sex.

Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects—such as a house, birthday cake, and pistol—balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn ("Personal Velocity") and cameraman Ed Lachman ("The Virgin Suicides" and "Far From Heaven"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.

A few summer days of three ordinary Moscow girls on the threshold of adulthood. Farewell to childhood in schoolyards and entrances of sleeping areas, where everything is for the first time and the world is just beginning - from secretly purchased cigarettes and cans with gin and tonic to an adult passport, first love and almost real tragedies.

It is Sjoerd's birthday and his mother has spared no trouble or expense to make this day a pleasurable one. Helped by the au pair, she takes the eleven-year-old kid on a search, where an unfortunate coincidence puts them in the middle of a raid. The criminals take the complete party bunch hostage and then it is a matter of surviving for the birthday boy.

A young woman listens to two friends discussing their first orgasms, before telling of her childhood love of sneezing.

Paula Poundstone makes a triumphant return to primetime television in her first new comedy special in over ten years, "Paula Poundstone: Look What the Cat Dragged In."

Hilarious and fast-paced short directed by Frank Daft.

An early short film by Josh Safdie, co-written with Benny Safdie and featuring frequent collaborators including Sam Lisenco and Ariel Schulman. Running just over three minutes, it premiered at the 2006 New York Underground Film Festival.

Antonio Rezza and Flavia Mastrella are two artists that use their bodies like objects. Their works are exaltations of the object compared to the subject. The interpreter is more important than the author. The role of artistic expression is to represent what is not there. Cinema is an improper weapon because it is in the wrong hands. The solution would be - according to the two artists - for cinema as well as all art to be managed by those who have imagination and who are not down to earth.

Oscar Kightley and Nathan Rarere reverse the mind blowing ocean voyage of their distant Pacific ancestors. Following a DNA trail, they travel thousands of miles, and meet people their ancestors would have left behind thousands of years earlier, before arriving on the shores of Taiwan and discovering for themselves the origins of their people.