Leo Garcia

Follow the intergalactic adventures of Capt. Jean-Luc Picard and his loyal crew aboard the all-new USS Enterprise NCC-1701D, as they explore new worlds.

Follow the lives of a group of young adults living in a brownstone apartment complex on Melrose Place, in Los Angeles, California.

The trials of a U.S. Army platoon serving in the field during the Vietnam War.

Obsessed with her sexy roommate, Jill violently imprisons Jennifer in their apartment in a twisted attempt to bring them closer together.

Sam and Dave are living the boring life until they are beckoned to Sam's uncle's Island. When they get there (still not quite sure how that worked) they are compelled by beautiful women and a dastardly enemy of the Island. After accidentally convincing Sam's uncle to sign away rights to his island, they must somehow fix the problem.

No description available.

From an executive producer of Terrifier 2 comes All Hallows Eve: Inferno, a new installment of the franchise that first introduced the world to Damien Leone's Art the Clown and the short film Terrifier. This horror anthology brings together up-and-coming writers and directors and features tales that will send a shiver down your spine.

A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”

Jacobina is inspired to kidnap a man she believes is her abusive birth father.

This short-form documentary video shot in South Sudan, is both a work of and a commentary upon cultural exploitation. It is a self-consciously “cinematic” recreation of a journey through a land plagued by the ghosts of colonialism and the present anxiety of conflicting religious and political agendas - both of which can often seem one and the same. Evoking a surreal sense of place, both very present and very distant, the video depicts the hazy lines between notions of “foreign aid” “missionary practice” and “colonialism,” and shows the ways history has of recycling itself. The essayistic, experimental nature of the work is inspired by the politically charged silent-era montage of Dovzhenko, Vertov, and Eisenstein and the later impressionistic film and video works of Marker and Godard.