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Top 10 Billed Cast
Mr. Mike
Church of Jack Lord Leader / Self
Church of Jack Lord Organist
Man on the Street
Self
Self
Self
Self (voice)
Self
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Plan B(en)
A bookkeeper who thinks she killed three mobsters is subsequently promoted by her boss to be a hitman.
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The youngest son of a legendary Hollywood producer, a Robert Evans type, accepts a bribe from his father to document his death.
Studs(en)
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Looking for Kitty(en)
A high school baseball coach and a down-on-his-luck private investigator form a bond as they scour New York City for the coach's wife, who's run away with a second-rate rock star.
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Moving McAllister(en)
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It's Not Me, I Swear!(fr)
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Assassination of a High School President(en)
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Don Sauvage(fr)
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ADVENTURE OF AMAZONES【前編】(ja)
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Rats Corner(ru)
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Dil Sala Sanki(hi)
Ever since Badal was an eight year old, he's been in love with violence. As a role model, he chooses the local mafia leader Bachcha Babu. As he grows up, Badal's passion for becoming like Bachcha Babu increases. One day, by chance, he gets the opportunity to join Baccha Babu's gang. He meets a girl called Megha and falls head over heels for her at first sight. However, she wants nothing to do with him. Megha's father, Sharmaji, who is a government school teacher, finds out that Badal is bothering Megha. With the help of his journalist friend, he goes to Bachcha Babu and tells him that Badal is creating trouble in his daughter's life. Bachcha Babu assures the journalist that from now on Badal will not disturb Megha and her family. In the course of events Bachcha Babu bumps into Megha and finds that he wants her for himself - at any cost. Bachcha Babu goes to the extent of killing his own wife to marry Megha.
What Goes Up....(en)
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males.