USA

An international crew of astronauts undertakes a privately funded mission to search for life on Jupiter’s fourth largest moon.Read More »

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“A nuanced portrayal of an entire era…JOSHUA TREE gives us an account of the process by which Hollywood molds an individual into its systemic image of a star.
That it accomplishes this through a formal subversion of Hollywood’s stylistic code…makes the message all the more subtle.”

— Travis Jeppesen, ArtforumRead More »

John Wayne and Janet Leigh star in this military romance. Anna, Russian MIG pilot, escapes the USSR and lands on a US Air Force base in Alaska. There she meets Colonel Shannon, and after he debriefs her, the two become romantically involved and move to Palm Springs. Trouble arises when the US authorities discover that Anna is not really a defector but a Soviet spy. Army honchos decide to turn the tables by letting Shannon follow her back home and do some of his own espionage. But once there, Soviet forces endanger Shannon’s life — and Anna has to choose between her country and the man she has come to love.Read More »

synopsis
One Night in Lisbon is one of several pre-1942 films which used the screwball-comedy form to comment upon the raging war in Europe. While transporting American warplanes to the beleagured RAF, Texas flyboy Dwight Houston (Fred MacMurray) is caught in a London air raid. Scurrying to a shelter, Dwight meets icy, well-bred Briton Leonora Pettycote (Madeleine Carroll), with whom he falls in love–a feeling that is far from mutual at first. Eventually responding to Dwight’s charms, Leonora agrees to join him for a night’s revelries (as soon as the Nazi bombers head home, that is), but their budding relationship is complicated by the unexpected presence of Dwight’s ex-wife Gerry Houston (Patricia Morrison and Leonora’s erstwhile sweetheart, Cmdr. Peter Walmsley (John Loder). Escaping their respective suitors, Dwight and Leonara end up in neutral Lisbon, only to land in the middle of a Nazi spy ring.Read More »

Who needs a description, it’s a Kuchar filmRead More »

Plot: When Jesse learns that Krager is cheating settlers, he and his gang rob trains to obtain money for them to purchase their land. Krager, finding a Jesse look alike in Burns, hires him to wreck havoc on the ranchers. When Jesse kills Burns he switches clothes and goes after the culprits.
The last of the Frontier-era films starring Roy Rogers. From this point forward through the last of the Roy Rogers’ film at Republic, the time period was always the modern west, or the mythical version of such. The exception to all of his remaining films not being set in a historical period was in Heldorado that contained a flashback segment. Read More »

Aired on BBC4 January, 2013. Shortlisted for Best Documentary, 2013 Academy Awards; Sundance Film Festival Grand Jury Prize, 2012.

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As America remains embroiled in overseas conflict, a less visible war is taking place at home, costing countless lives, destroying families and inflicting untold damage on future generations of Americans. For over forty years, the War on Drugs has accounted for 45 million arrests, made America the world’s largest jailer and damaged poor communities at home and abroad. Yet for all that, drugs are more available today than ever before.Read More »

Keep the Lights On chronicles an emotionally and sexually charged journey of two men in New York City through love, friendship, and addiction. Documentary filmmaker Erik (Thure Lindhardt) and closeted lawyer Paul (Zachary Booth, Damages) meet through a casual encounter, but soon find a deeper connection and become a couple. Individually and together, they are risk takers – compulsive, and fueled by drugs and sex. In an almost decade-long relationship defined by highs, lows, and dysfunctional patterns, Erik struggles to negotiate his own boundaries and dignity while being true to himself. Director Ira Sachs’ fearlessly personal screenplay is anchored by Lindhardt, who embodies Erik’s isolation and vulnerability with a gentle presence. Harrowing and romantic, visceral and layered, Keep the Lights On is a film that looks at love and all of its manifestations, taking it to dark depths and bringing it back to a place of grace.Read More »

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The singular title of Bruce Conner’s A Movie positions this avant-garde short as though it were a prototypical example for the entire medium. In fact, Conner’s film is the self-conscious inheritor of a particular tradition within the movies, a particular use to which moving pictures have been put: the filmic spectacle. Where Conner’s film, constructed entirely from a wide variety of found footage, diverges from this tradition is in its recognition that in spectacle, the content hardly matters so much as the sensations conveyed through the film.Read More »