"A movie within a movie."01 April 1986Factual75 mins
Thrill to the action from a battle to the death between beautiful amazons, twisted mutants and sickening, deadly zombies sometime after WWIII as you also watch from behind the scenes as brilliant special effects are constructed by demented master craftsmen, some of whom seem to be losing their grip on reality! Which side of the camera are we really on? How far will these gut-wrenching effects go? The answer is further than ever before - more graphic scenes of violence, perversion, mutilation and slaught per minute than any horror feature ever made!
In 1973, five men and six women drifted across the Atlantic on a raft as part of a scientific experiment exploring the origins of violence and sexual attraction.
A multi-part documentary about the making of the Jurassic Park trilogy. Each part walks through the making of part of one of the films, including the hurricane during the shooting of the first film, and how advances in CGI for Jurassic Park helped change the world of special effects forever.
During three years of unparalleled violence in Baltimore, Charm City delivers an unexpectedly candid, observational portrait of those left on the frontlines.
Actor and writer Mark Gatiss embarks on a chilling journey through European horror cinema, from the silent nightmares of German Expressionism in the 1920s to the Belgian lesbian vampires in the 1970s, from the black-gloved killers of Italian bloody giallo cinema to the ghosts of the Spanish Civil War, and finally reveals how Europe's turbulent 20th century forged its ground-breaking horror tradition.
Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity.
In this daring follow-up to The History of White People in America, comedian Martin Mull takes us on an in-depth look at such topics as White Religion, White Stress, White Politics, and White Crime.
Playwright and director Nils Wijn brings his relationship issues to the stage. In his play "The Whore, the Virgin, and the Dying Man," he has his girlfriend Tessa appear in revealing lingerie and takes her to a real prostitute for some practical lessons.
In this film, Humbert is on the trail of his own history. Wolfsgrub is the name of the house where Humbert's mother lives, and though she is getting on in years, she becomes young again as she answers her son's questions.
Something very common in our days, an adolescent who does not find communication with her mother or stepfather falls into a depression that drags her down paths of difficult return.
