Rudy Wurlitzer

The last days of the American icon Walt Disney form a powerful and poignant subject for Philip Glass's latest opera, which was filmed at its first performances in Madrid in January 2013.

A look at 1970s Hollywood when it was known as New Hollywood, and the director was the star of the movie.

After the death of Lama Dorje, Tibetan Buddhist monks find three children — one American and two Nepalese — who may be the rebirth of their great teacher.

In 1983, yacht sailor Will Parker leads an American crew financed by millionaire Morgan Weld to defeat during the America's Cup race against an Australian crew. Determined to get the prize back, Will convinces Morgan to finance an experimental boat designed by his ex-girlfriend Kate's new beau, Joe Heisler. When the boat is completed, the Americans head to Australia to reclaim the cup.

In the 1930s, Agaguk lives his traditional Inuit life. But one day, there is a murder in the tribe and Agaguk becomes a suspect. Soon he becomes persecuted by Henderson, a mean mountie, and he must flee through the cold winter of Northern Quebec.

Walter Faber has survived a crash with an airplane. His next trip is by ship. On board this ship he meets the enchanting Sabeth and they have a passionate love affair. Together they travel to her home in Greece, but the rational Faber doesn't know what fate has in mind for him for past doings.

A mediocre musician goes on the road in search of the world's greatest guitar maker

A mediocre musician goes on the road in search of the world's greatest guitar maker

William Walker and his mercenary corps enter Nicaragua in the middle of the 19th century in order to install a new government by a coup d'etat.

Filmed in Wendover, Nevada, in early 1981, Energy and How to Get It combines documentary and fictional ideas. What began as a documentary film about Robert Golka, an engineer who was experimenting with ball lightening and the development of fusion as an energy force, was turned into a spoof on the documentary form, inserting fictional characters into the story such as the Energy Czar (William Burroughs), and a Hollywood agent (filmmaker Robert Downey). (mfah.org)

The protagonists’ astounding verbal gymnastics and often incomprehensible interactions tend to descend into nonsense, and with the syncopated rhythm of its action and dialogue, this film is reminiscent of the playful and parodying elements of the Beat fantasy Pull My Daisy. The interweaving of documentary and fiction with the syncopated rhythm of its action and dialogue presents an absurd buzz of activity reminiscent of Beckett’s abstract comic grotesque.

Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons to bring down his old friend Billy the Kid.

Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons to bring down his old friend Billy the Kid.

Teenagers Glen and Randa are members of a tribe that lives in a rural area, several decades after nuclear war has devastated the planet. They know nothing of the outside world, except that Glen has read about and seen pictures of a great city in some old comic books. He and Randa set out to find this city.

A driver and a mechanic travel around the United States hopping from drag strip to drag strip in a 1955 Chevy Bel-Air coupe. They race for money, betting with their competitors. The pair gains a young and talkative female stowaway. Along the way they unintentionally attract a well-to-do drifter driving a new Pontiac GTO. This older man, looking for attention, antagonizes their efforts.

A driver and a mechanic travel around the United States hopping from drag strip to drag strip in a 1955 Chevy Bel-Air coupe. They race for money, betting with their competitors. The pair gains a young and talkative female stowaway. Along the way they unintentionally attract a well-to-do drifter driving a new Pontiac GTO. This older man, looking for attention, antagonizes their efforts.

Presents an intimate view of four decades of the Swiss-born artist Robert Frank who has had an extraordinary influence on contemporary photography and filmmaking. This documentary which examines his life through his films and photographs, includes interviews with many of his collaborators and contemporaries. Written, directed and edited by Philip Brookman, Amy Brookman