The Wandering Gambler

Without Lying Down: Frances Marion and the Power of Women in Hollywood

From 1915-1939, Frances Marion was one of the most powerful talents in the movie industry. In one of the most liberating eras for women in film, she wrote more than 200 movies and was the world's highest paid screenwriter - man or woman. Kathy Bates gives voice to Marion's words from her letters, diaries, and memoirs. Includes commentary by silent film historian Kevin Brownlow, critic Leonard Maltin, and Marion's celebrated biographer Cari Beauchamp. Current women filmmakers reflect on the legacy left to them by Marion and the pioneering women of early Hollywood.

Love Variations

Britain's first ever feature-length sex education film caused widespread tabloid controversy upon its original release. Now more hysterical than educational, the ground-breaking LOVE VARIATIONS shows models performing a variety of sexual positions, whilst a "family doctor" provides an excitable commentary.

Curbing Violence

Cheng Jie, chairman of a certain group, was instructed by a "master" to have sex with a woman to change his luck. He targeted Han Mei, a "single mother" employee of his company, and raped and injured her, leaving her in a vegetative state. Afterwards, he lied to the media that it was Han Mei who seduced him and asked his pregnant wife to cooperate in the play, successfully changing public opinion. Han Mei's sister, policewoman Qiu Yi Zhao, firmly believed that Cheng Jie was lying and started an investigation. In the process of collecting evidence, she encountered many obstacles from evil forces, and Cheng Jie's ugly face of a beast in human form gradually surfaced.

Ciudad sin ley

Mexican feature film

Öğrenci İşleri

Puthiya Geethai

Sarathy is a brilliant and carefree young man who is unaware that an astrologer has predicted his death at the age of 27. Eventually, he comes to loggerheads with Reddiar over a land deal gone bad.

Double Feature

Director José Luis Garci has turned his camera inward on filmmakers and screenwriters to portray them as so self-absorbed in the creative process that there is no other world, no other human relationship that can compete. As José (Adolfo Marsillach) and Federico (Jesus Puente) work together on a new screenplay, their interactions with their family (José's teen daughters, Federico's wife) disappear under the all-consuming task of creation. The daughters give up and go off on their own, and the wife joins a convent while Federico barely notices. And when the producer is interrupted by profound grief at the sudden death of his older son, he almost automatically returns to thinking about the film project when the funeral has ended. Garci honors many great directors at the beginning of this film, and the film continues to play out as an elaboration on this homage -- an illustration both of the dedication and the cost of filmmaking, no judgments given.