Shot entirely on CCTV cameras while working at a suburban multiplex cinema, Jann Clavadetscher’s Controle No 6 is no budget filmmaking in the truest sense. Constructed over many weeks, Jann surreptitiously performed for the cinema’s security cameras, in empty car parks, box office booths and lifts, only later going back to comb through these tapes in an attempt to retrieve the material in which he appears. With movie star looks and an affection for body comedy, Jann could be situated as the Harold Lloyd of the Experimental Film Society of which he forms part (as unlikely as that sounds). Lloyd serves as a model here for a naturally physical performer, but also for the ways in which Clavadetscher gracefully skips over what would otherwise be impossibly restrictive conditions in which to make a film.
In Matt Braunger's stand-up special, he reveals why single men are so creepy, describes the drunken antics he observed as a bartender and details a surprisingly stressful Bingo victory.
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A prequel set before the haunting of the Lambert family that reveals how gifted psychic Elise Rainier reluctantly agrees to use her ability to contact the dead in order to help a teenage girl who has been targeted by a dangerous supernatural entity.
Armed with the astonishing ability to shrink in scale but increase in strength, master thief Scott Lang must embrace his inner-hero and help his mentor, Doctor Hank Pym, protect the secret behind his spectacular Ant-Man suit from a new generation of towering threats.