Blending influences from his Louisiana and Texas roots to create a sound uniquely his own, Clarence "Gatemouth" Brown brings his brand of blues to this 1996 live performance that first aired as part of the PBS series "Austin City Limits." Tracks include "Ain't That Dandy," "Born in Louisiana," "Bits and Pieces," "Honky-Tonk," "Dark End of the Hallway," "Up Jumped the Devil" and more.
In this soulful surf documentary, filmmaker Cyrus Sutton shadows five different surfers, capturing the ups and downs of their daily routines -- much like the ebb and flow of the waves they ride with such passion.
A radical hybrid of spy, sci-fi, Western, and even horror genres, Craig Baldwin's Mock Up On Mu cobbles together a feature-length "collage-narrative" based on (mostly) true stories of California's post-War sub-cultures of rocket pioneers, alternative religions, and Beat lifestyles.
Daniel is a scientist who just got married to April, an attractive, immature and extroverted youth who reveals a side of herself which he has not yet seen, unleashing conflicts with the inhabitants of her hometown.
A Maid slaves in a Swedish family high-etc kitchen in the year of 2008, serving some twin brats, a hungry Nosferatu-teenager and a father "dying" in a cold.
A beautiful grad student named Tara Simmons is abducted by aliens in a flying saucer. Four days later she finds herself back on earth at the top secret government facility Areola 51, which documents sexual encounters with aliens.
Don Muthu Swami is one of Bombay's most fearsome gangsters. On his deathbed, his father forces him to make a promise: that from now on he will lead a decent life.
Three small films for as many reflections on the senses and human knowledge. In the first episode, Emmer reviews with anthological and didactic intent the precepts of ancient philosophy, from Greek to Roman civilization; in the second, working as he did at the beginning of his career on a vast repertoire of pictorial and non-pictorial images, he analyzes the “history of the gaze” in the visual arts, from prehistoric graffiti to medieval altarpieces, from Impressionist and Cubist paintings to modern-day advertising posters; finally, in the third, recounting with irony and lightness a day of solitude in his mountain home, he reflects on the intellectual thinking of writers and great thinkers, relating to his own individual experience as much the words of oral tradition and popular culture as the writings of geniuses such as Shakespeare, Spinoza or Gogol.
This making-of features additional background on the original ideas for the film. Shyamalan discusses his initial inspiration to make the ultimate B-movie, but one that morphed into something deeper.
