Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet's acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist's charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank.
Dashing legionnaire Rick O'Connell and his companion, Beni stumble upon the hidden ruins of Hamunaptra while in the midst of a battle in 1923, 3,000 years after Imhotep has suffered a fate worse than death – his body will remain undead for all eternity as a punishment for a forbidden love.
Will Plunkett and Captain James Macleane, two men from different ends of the social spectrum in 18th-century England, enter a gentlemen's agreement: They decide to rid the aristocrats of their belongings.
Computer scientist Hannon Fuller has discovered something extremely important. He's about to tell the discovery to his colleague, Douglas Hall, but knowing someone is after him, the old man leaves a letter in his computer generated parallel world that's just like the 30's with seemingly real people with real emotions.