Production
Two HIV-positive young men — a semi-employed film critic and a hot hustler — tear off on a cross-country crime spree.
This 2005 documentary film chronicles the life of Daniel Johnston, a manic-depressive genius singer/songwriter/artist, from childhood up to the present, with an emphasis on his mental illness and how it manifested itself in demonic self-obsession.
Emmy Coer, a computer genius, devises a method of communicating with the past by tapping into undying information waves. She manages to reach the world of Ada Lovelace, founder of the idea of a computer language and proponent of the possibilities of the "difference engine." Ada's ideas were stifled and unfulfilled because of the reality of life as a woman in the nineteenth century. Emmy has a plan to defeat death and the past using her own DNA as a communicative agent to the past, bringing Ada to the present. But what are the possible ramifications?
A gang of women wreak havoc in the city, killing various men who have treated women poorly. And sometimes they do it just for fun.
Like a warped fun-house mirror, the song-poem industry has run parallel to the mainstream music business for close to a century; it's estimated that over 200,000 song-poems have been recorded since 1900. The genre's durability can be traced to three of our deepest American desires - to be in show business, to get rich quick, and to share and express our deepest feelings. We meet several of the "songwriters" - from an elderly woman to a young African-American man to a small-town Iowan with big-time dreams - each of whom has been in the "business" for awhile, churning out odd compositions that cover the waterfront of American obsessions, from Jesus to genitalia, from politics to Elvis. We also meet the producers (often known as song-sharks) who hold out the tantalizing promise of fame to their eager customers, and the has-been musicians who sit in studios, day after day and year after year...
Bill Nye is retiring his kid show act in a bid to become more like his late professor, astronomer Carl Sagan. Sagan dreamed of launching a spacecraft that could revolutionize interplanetary exploration. Bill sets out to accomplish Sagan's mission, but he is pulled away when he is challenged by evolution and climate change contrarians to defend the scientific consensus. Can Bill show the world why science matters in a culture increasingly indifferent to evidence?
A lonely Russian man is trying to see his daughter, who lives with her mother far away in the USA.
“We are as gods and might as well get good at it.” This is the audacious opening line of the Whole Earth Catalog, a compendium of wonderful tools compiled by counterculture legend Stewart Brand. A psychedelic experimenter, cyberspace pioneer, and environmentalist, he is now urging humanity to use our god-like powers to reframe our relationship with time and life itself. Today, Stewart is using biotech to resurrect extinct species. He and a team of scientists travel to Siberia to collect ancient DNA in an effort to make a hybrid Woolly Mammoth. Former allies in the environmental movement vow to stand in his way, but Stewart forges ahead in his life-long mission to conserve the whole earth.
A real-life comedy about a filmmaker who takes a road trip to Las Vegas -- with his real-life father and 16-year-old half-brother, plus a crew of three -- in the hopes of proving the existence of God.
A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.
Teenage London is trying to find meaning in the world, or a leather jacket of her own. Unaccepted by neither the Mods or the Asian biker gang, she tries to find her own path. Meanwhile, the two gangs maintain a mutual vendetta sure to erupt in a smorgasbord of violence.
Times are hard for Northwestern lumber-mill operators like Ray and his wife Jean. Ray and Jean's lives are thrown into chaos when their daughter writes home from college, claiming to have a horrifying revelation.
In 1987, Eddie Lee Sausage and Mitch Deprey recorded the nightly squabbles of their over-the-top neighbors, homophobic Raymond Huffman and proudly gay Peter Haskett, and the chronicle of the pair's bizarre existence soon took on a life of its own. This darkly funny documentary checks in with former punks Eddie and Mitch, who detail their late-'80s Lower Haight surroundings, and surveys the tapes' influence on an array of underground artists.
This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.
Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.
Ricky, a dim-witted ex-con, meets Beth, a dim-witted waitress, in an Idaho diner. They take off in his car to Washington and begin an affair. Beth, a lonely romance-novel addict, is hopelessly enamored; Ricky is just in it for the (constant) sex. Beth's longing to visit California and Ricky's longing for quick cash leads them into a desperate situation. Director Jost uses a variety of avant-garde visual and narrative techniques, such as montage, collages, split screens and lengthy, tongue-in-cheek monologues to tell the tragicomic story of two complete losers in love.
