Echo (1964)

Tras sobrevivir a los sangrientos crímenes de la noche de Halloween, Laurie Strode (Scout Taylor-Compton) trata de rehacer su vida junto al sheriff Brackett (Brad Dourif) y su amiga Annie (Danielle Harris). Pero dos años después de los asesinatos de Michael Myers el pasado vuelve y la joven Strode tendrá que enfrentarse nuevamente al psicópata en una noche regada de horror y sangre.

Mikey Saber es una estrella del porno pasada de moda que vuelve a su pequeño pueblo de Texas, aunque nadie le echa de menos.

Evelyn y su inconsciente hijo Ziggy buscan reemplazos el uno para el otro. Mientras Evelyn intenta criar a una adolescente sin pretensiones en su refugio, Ziggy busca a tientas a una joven brillante en la escuela.

Lady Divine becomes enraged when her boyfriend cheats on her and descends into a life of murder and mayhem.

Equal parts punk and psychedelia, the Flaming Lips emerged from Oklahoma City as one of the most bracing bands of the late 1980s. The Fearless Freaks documents their rise from Butthole Surfers-imitating noisemakers to grand poobahs of orchestral pop masterpieces. Filmmaker Bradley Beesely had the good fortune of living in the same neighborhood as lead Lip Wayne Coyne, who quickly enlisted his buddy to document his band's many concerts and assorted exploits. The early footage is a riot, with tragic hair styles on proud display as the boys attempt to cover up their lack of natural talent with sheer volume. During one show, they even have a friend bring a motorcycle on stage, which is then miked for sound and revved throughout the performance, clearing the club with toxic levels of carbon monoxide. Great punk rock stuff. Interspersed among the live bits are interviews with the band's family and friends, revealing the often tragic circumstances of their childhoods and early career.

En 1948, el cantante francés Charles Aznavour (1924-2018) recibe una Paillard Bolex, su primera cámara. Hasta 1982, filmará horas de metraje, su diario filmado. Dondequiera que vaya, lleva su cámara con él. Filma su vida y vive como filma: lugares, momentos, amigos, amores, desgracias.

Short Subject [commonly known as Mickey Mouse in Vietnam] is a 16mm underground animated short film. Mickey Mouse enlists with the army and ships off to Vietnam.

Everyday life in a commune near Munich in the spring of 1969

HARD-CORE is a frank and irreverent documentary that asks the question, "what is hard-core?" Seedy, grainy, and fast-paced, this is a nostalgic look at an ephemeral moment in the history of a subculture: punk rock in San Francisco in the late eighties. Everyone from fucked-up teenagers to elderly Mexican tourists attempts to explain the allure and mystique of the scene. Filmed at SF's historical petting-zoo/theater/punk rock emporium The Farm.

Eric Swain and Troy Bernier are scientists by day and amateur filmmakers by night. Over the years these two friends have turned out many of their own amateur, sci-fi inspired movies. Journey to Planet X follows the filming of Planet X, the duo’s most ambitious endeavor to date, and sheds light on their unique brand of “movie magic.”

Justin is a film editor surrounded by performances. Sick of sitting in a dark room watching others, he starts to envision ‘70s cabaret style performances of his own. When a new relationship starts to develop, Justin has to decide how badly he wants to come out from behind the camera.

Shot on 16mm celluloid across parts of New Zealand and Samoa, interdisciplinary artist Sam Hamilton’s ten-part experimental magnum opus makes thought-provoking connections between life on Earth and the cosmos, and, ultimately, art and science. Structured around the ten most significant celestial bodies of the Milky Way, Apple Pie’s inquiry begins with the furthest point in our solar system, Pluto, as a lens back towards our home planet and the ‘mechanisms by which certain aspects of scientific knowledge are digested, appropriated and subsequently manifest within the general human complex’. Christopher Francis Schiel’s dry, functional narration brings a network of ideas about our existence into focus, while Hamilton’s visual tableaux, as an extension of his multifaceted practice, veer imaginatively between psychedelic imagery and performance art.

Invading aliens are taking over the brains of folks in a small town. The head leech is a wad of black tinfoil with a couple of white thumbtacks for eyes. Others are spidery-like rubber things pulled along by strings.

When asked to make a documentary about her friend’s mother—a Parisian astrologer named Juliane—the filmmaker sets off for Montmartre with a Bolex to craft a portrait of an infectiously exuberant personality and the pre-war apartment she’s called home for 50 years.

In a small New Hampshire town, the local peeping tom, Freaky Farley is embroiled in a tale of murder, monsters, ninjas, witches, angst, anger, insecurity and madness.

In a godforsaken landscape, filmed in transcendental black and white, as if fallen out of time, young Ada lives alone with her ill mother. Her rather lonely existence is characterized by hard work and poverty and as her mother's condition worsens there doesn't seem to be a way out anymore. Ecce homo is a parable about being human, rich in religious symbolism, which dreamily and at the same time sombrely poses existential questions without volunteering answers.

Filmed back-to-back with three other Sunset Carson vehicles in 1947, this Yucca Pictures Western starred the former Republic cowboy as a Texas Ranger chasing a gang of rustlers into the notorious outlaw territory of Three Corners. Attempting to sabotage the proposed annexation of the territory, desperado Bart Dawson (Stephen Keyes) and his men ambush Sunset and his young trainee Jed (Al Terry). The villains, who have been terrorizing pretty trading post operator Helen Bennett (Patricia Starling), are eventually defeated by the rangers in a violent gun battle and the planned annexation takes place on schedule. For all intents and purposes, the handsome but wooden Sunset Carson ended his screen career with this series of extremely low-budget Westerns, originally filmed in 16mm and released by that dumping ground of Poverty Row flotsam, Astor Pictures.

The story of two teenage extraterrestrial refugees from the planet Pluto, who escape to Earth after their planet is destroyed by the US government, as it was deemed “insignificant.” For many years prior, tensions between the Plutonians and the Earthlings had seen a steady incline, as Pluto held camps where Earthlings were experimented on and tortured. The two aliens make their crash landing, undertake human form and undergo the aliases “Hugh Jainus” and “E. Rection”. In an effort to wage revenge on the nation, with their brainwashed sidekick Potator under their wing, the trio hijack television stations worldwide and broadcast mind-numbingly stupid and ridiculous, yet insane and often violent programs to dumb down and distract the nation’s citizens from their devious plans. The tube tells the story...

Miguel, un actor en declive de su carrera, tiene ante sí el último viaje de su vida. Le han diagnosticado Alzheimer y un tumor cerebral. Su hijo Carlos, después de que su padre le abandonara, se encuentra en la encrucijada de acudir en su ayuda. La pareja de Miguel y tía de Carlos, Sandra, intenta rehacer las relaciones entre padre e hijo y a la vez recuperar un amor casi perdido. Aparece un amigo invisible, de nombre Agapito, que acompañará a Miguel en este viaje, provocando situaciones que van desde la ternura y la risa hasta el drama.

A fisherman, a banker and an actress are involved in a love triangle in the middle of the ocean.