Rae Ripple, a welder from the outskirts of West Texas transforms neglected metal into works of art and in the process finds healing from her traumatic past.
Llewelyn Moss stumbles upon dead bodies, $2 million and a hoard of heroin in a Texas desert, but methodical killer Anton Chigurh comes looking for it, with local sheriff Ed Tom Bell hot on his trail. The roles of prey and predator blur as the violent pursuit of money and justice collide.
In a Paris hotel room, Jack Whitman lies on a bed. His phone rings; it's a woman on her way to see him, a surprise. She arrives and the complications of their relationship emerge in bits and pieces. Will they make love? Is their relationship over? (A prequel to The Darjeeling Limited, 2007.)
Actor/cult icon Bruce Campbell examines the world of fan conventions and what makes a fan into a fanatic.
A nervous job candidate is forced to show much more than a positive attitude to save the life of her competitor.
A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his memory back of the life he led before he walked out on his family and disappeared four years earlier.
A man confronts his past during an experiment that attempts to find a solution to the problems of a post-apocalyptic world caused by a world war.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
Herrmann is a leftist Thirty Something, who is still politically active, despite beginning to live the usual life of having a girlfriend and a child. On the way to his weekly political meeting he is kidnapped.
In her bouts to help her daughter, Teresa accidently lands on a call center job where Regina is employed, giving her a chance (or is it really?) to rekindle her relationship with her daughter. In the call center, she meets people coming from different walks of life; fun-loving Richie, young-living Lolay, prim and proper Martin, and their monster Team Leader Vince.
After his e-bike is stolen, a food delivery driver in New York City comes to terms with the fragility of his life in America.
A high mountain hamlet, early summer. Félix comes down from the pastures where he’s guarding his cows and finds his old mother lying lifeless on her bed. Shaken, he runs off. He drives a few miles in the valley to the house of a young man who just contacted him on a dating app.
Overwhelmed by her husband’s medical bills, Sofia takes a desperate measure: she becomes an egoblogger.
Paparazzi explores the relationship between Brigitte Bardot and groups of invasive photographers attempting to photograph her while she works on the set of Jean-Luc Godard's film Le Mépris (Contempt). Through video footage of Bardot, interviews with the paparazzi, and still photos of Bardot from magazine covers and elsewhere, director Rozier investigates some of the ramifications of international movie stardom, specifically the loss of privacy to the paparazzi. The film explains the shooting of the film on the island of Capri, and the photographers' valiant, even foolishly dangerous, attempts to get a photograph of Bardot.
In the translucent LA dusk we discover four women living very different lives. The camera follows each as they wind down their working days, their four stories weaving together as each prepares for their evening.
Humans use technology to improve their lives, to forge connections, to create time that doesn’t exist, to replace real interactions. When we devise a second version of ourselves on social media, do we lose a piece of our true selves in the process? Do our digital connections threaten our real life relationships? What happens if the filtered characters we’ve imagined take on a life of their own?
John Milius narrates this featurette on the Clint Eastwood classic.
A swimmer prepares for the swimming championship final, and hours before the tournament, terrifying and suspicious situations and events happend to him