Burn Out Like a Dying Candle in the Cradle of my Arms

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

Victor Frankenstein is a promising young doctor who, devastated by the death of his mother during childbirth, becomes obsessed with bringing the dead back to life. His experiments lead to the creation of a monster, which Frankenstein has put together with the remains of corpses. It's not long before Frankenstein regrets his actions.

20 men are chosen to participate in the roles of guards and prisoners in a psychological study that ultimately spirals out of control.

The surrealist film shows repetitive imagery involving a string fashioned in a bizarre, almost spiderweb-like pattern over the hands of several individuals, most notably an unnamed young woman and an elderly gentleman. The film also shows a shadowy darkness and people filmed at odd angles, an exposed human heart, and other occult symbols and ritualistic imagery which evokes an unsettling and dream-like aura. Considered an unfinished film.

A visual montage portrait of our contemporary world dominated by globalized technology and violence.

Short film to a song of love lost and rediscovered, a woman sees and undergoes surreal transformations. Her lover's face melts off, she dons a dress from the shadow of a bell and becomes a dandelion, ants crawl out of a hand and become Frenchmen riding bicycles. Not to mention the turtles with faces on their backs that collide to form a ballerina, or the bizarre baseball game.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

The film goes behind the scenes of the 1999 sci-fi movie The Matrix.

Grindhouse combines Robert Rodriguez's Planet Terror, a horror comedy about a group of survivors who battle zombie-like creatures, and Quentin Tarantino's Death Proof, an action thriller about a murderous stuntman who kills young women with modified vehicles. It is presented as a double feature with fictitious exploitation trailers preceding each segment.

Through deeply personal interviews with her siblings and an examination of the photographs, letters, and belongings left behind, Mariska assembles a new portrait of her mother Jayne Mansfield, an extraordinary and complex woman.

In the Realms of the Unreal is a documentary about the reclusive Chicago-based artist Henry Darger. Henry Darger was so reclusive that when he died his neighbors were surprised to find a 15,145-page manuscript along with hundreds of paintings depicting The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glodeco-Angelinnian War Storm, Cased by the Child Slave Rebellion.

A masked maniac terrorizes the same small community where a murderer known as the Phantom Killer struck decades earlier.

A woman wakes up injured in a basement surrounded by corpses. To survive, she pretends to be dead while a grotesque ritual unfolds in the house above.

After losing his wife and his memory in a car accident, a single father undergoes an experimental treatment that causes him to question who he really is.

A group of young friends spending time at a remote cabin are pursued by a demonic force after a burial site is disturbed. Made on a small budget and starring Bruce Campbell and Ellen Sandweiss, the film was produced as a proof of concept to attract investors. Its ideas and sequences later formed the basis for Sam Raimi’s "The Evil Dead" (1981).

After being forced to drive a mysterious passenger at gunpoint, a man finds himself in a high-stakes game of cat and mouse where it becomes clear that not everything is as it seems.

The Amazon rain forest, 1979. The crew of Fitzcarraldo (1982), a film directed by German director Werner Herzog, soon finds itself with problems related to casting, tribal struggles and accidents, among many other setbacks; but nothing compared to dragging a huge steamboat up a mountain, while Herzog embraces the path of a certain madness to make his vision come true.

The earliest surviving motion-picture film, and believed to be one of the very first moving images ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken on paper-based photographic film in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), on 14 October 1888. The film shows Adolphe Le Prince (Le Prince’s son), Mrs. Sarah Whitley (Le Prince’s mother-in-law), Joseph Whitley, and Miss Harriet Hartley walking around in circles, laughing to themselves, and staying within the area framed by the camera. Roundhay Garden Scene is often associated with a recording speed of around 12 frames per second and runs for about 2 to 3 seconds.

Dr. Frankenstein and his monster both turn out to be alive after being attacked by an angry mob. The now-chastened scientist attempts to escape his past, but a former mentor forces him to assist with the creation of a new creature.

Nothing is as it seems when a woman experiencing misgivings about her new boyfriend joins him on a road trip to meet his parents at their remote farm.