Ruhr (2009)

After getting dumped by his slutty girlfriend, Caleb falls in love with Gwen. However, thanks to Caleb's roommate, Gwen thinks he's gay and sets him up with her roommate, Marc.

好調なうちに裏社会から足を洗おうと決意した名もなき麻薬ディーラー（ダニエル・クレイグ）。ある日、彼は裏社会の大御所エディ（マイケル・ガンボン）の麻薬中毒の娘を捜し出すよう命令される。さらに、あるギャングが手に入れた100万錠のエクスタシーを売りさばくことになった彼は、この2つの仕事を最後に引退しようとするが……。

Charles Price may have grown up with his father in the family shoe business in Northampton, central England, but he never thought that he would take his father's place. Charles has a chance encounter with the flamboyant drag queen cabaret singer Lola and everything changes.

アメリカ南部アラバマを舞台に、荒くれ者のギャング兄弟や汚職まみれの警官、バイクにまたがり斧を振り回すネイティブ・アメリカン、危険な美女軍団などが入り乱れて死闘を繰り広げる姿を描いたアクション。凶暴な3兄弟として知られるブリック、リンカーン、マックイーンは、長男のブリックが心を奪われたセクシー美女セレステの頼みで、セレステの元夫でギャングのカルロスから、奪われたセレステの息子を取り返すことになる。相手を打ちのめして子どもを奪うだけの簡単な仕事に思われたが、地元保安官や兄弟を追う連邦捜査官などを巻き込み、事態は思わぬ方向へと転がっていく。

Mark 13 is a government-built killing machine programmed with artificial intelligence, able to repair and recharge itself from any energy source. Through a series of coincidences, the cyborg's head ends up in the home of a sculptress as a bizarre Christmas present from her boyfriend. Once inside its new home, the cyborg promptly reconstructs the rest of its body using a variety of household utensils and proceeds to go on a murderous rampage.

悪質な暴走族が牛耳る町、ブルックス。そこに謎の黒い車、ターボ・インターセプターが出現し暴走族たちを蹴散らす。やがて両者を巡る驚きの真実が明らかに……。チャーリー・シーン主演の80年代カー・アクション。

Julius Fonteneau has decided to take the law into his own hands after his daughter has gone missing. His only friend supports him while his wife resents him and the police are growing suspicious of his intentions. He must determine right from wrong and make the ultimate decision to kill the man he believes to have taken his daughter

テキサスからメキシコへの旅行中に、若者のグループが血まみれのヒッチハイカーを拾い上げ、彼女は前の晩に近くの家で起きた虐殺の唯一の生存者であると主張します。 Tobe Hooper（1974）による同名のクラシックのリメイク。

正義のためなら手段を選ばない刑事のラドロー。かつてのパートナーを殺された事件をきっかけに、自分が巨悪に操られていたことを知り猛攻に出る。キアヌ・リーヴスが孤独と葛藤を抱えたキャラクターを演じるクライム・アクション。

A nomadic 16th century warrior, condemned to hell for his brutal past, seeks redemption by renouncing violence, but finds some things are worth burning for as he fights to free a young Puritan woman from the grip of evil.

野獣に襲われたとおぼしきいくつもの死体。宮廷より派遣されたフロンサックは、野獣の正体解明と事件解決に向けて捜査を始める。予想外の展開にド肝を抜かれるアクション・エンタテインメント作。

O・リード扮する精神科医のもとで、ある研究の実験台になっているS・エッガー。その研究とは、人間の憎悪という感情を、肉体的に具現化させるというものだった。エッガーの体にはやがて腫瘍ができ、その中からは奇怪なコビトが現れる。それこそ、腫瘍をある種の子宮として誕生した、彼女の憎悪の化身であった。

A 16-year-old girl visits her gay half-brother and ends up seducing his boyfriend, thus wreaking havoc on all of their lives.

Milos, a retired porn star, leads a normal family life trying to make ends meet. Presented with the opportunity of a lifetime to financially support his family for the rest of their lives, Milos must participate in one last mysterious film. From then on, Milos is drawn into a maelstrom of unbelievable cruelty and mayhem.

男は元軍人。依頼は拉致された少女の救出。だが、何かがおかしい?? 元軍人のジョーは行方不明者の捜索を請け負うスペシャリスト。ある時、彼の元に舞い込んできた依頼は、いつもと何かが違っていた。依頼主は州上院議員。愛用のハンマーを使い、ある組織に囚われた議員の娘・ニーナを救い出すが、彼女はあらゆる感情が欠落しているかのように無反応なままだ。そして二人はニュースで、依頼主である父親が飛び降り自殺したことを知る──。

ベン・アフレックの長編監督デビュー作は、弟ケイシー・アフレックを主演に迎えたサスペンス・アクションだ。小さな町で少女誘拐事件が発生。捜索を依頼された私立探偵は、やがて衝撃の真実に気付くが……。

Nick Hume is a mild-mannered executive with a perfect life, until one gruesome night he witnesses something that changes him forever. Transformed by grief, Hume eventually comes to the disturbing conclusion that no length is too great when protecting his family.

When passengers on a train are attacked by a creature, they must band together in order to survive until morning.

Jason Voorhees, the living, breathing essence of evil, is back for one fierce, final fling! Tracked down and blown to bits by a special FBI task force, everyone now assumes that he's finally dead. But everybody assumes wrong. Jason has been reborn with the bone-chilling ability to assume the identity of anyone he touches. The terrifying truth is that he could be anywhere, or anybody. In this shocking, blood-soaked finale to Jason's carnage-ridden reign of terror, the horrible secret of his unstoppable killing instinct is finally revealed. And once you know the chilling facts, you'll see him in your nightmares! And he'll see you in hell!

過去との決別のために新天地に来たグレタ は、老夫婦と暮らす8歳の男の子のベビーシッターのアルバイトとしての仕事に就いた。しかしその少年は人間サイズの人形だった…。冗談かと思い笑うグレタを前に、老夫婦はその人形を「ブラームス」と呼び人間として溺愛しグレタを驚愕させる。さらにその人形を世話するときの「必ず守らなくてはいけない」10のルールを知らされグレタは衝撃を受ける。やがて老夫婦が旅行に出かけ不在になった屋敷でグレタがルールを無視し始めた時から人形に奇妙な現象がおき始める。それは想像を絶する惨劇の始まりだった。一体人形に何が起こりはじめたのか?

Double Tide documents the work of a female clam digger in the mudflats of coastal Maine and is filmed on the rare occasion in which low tide occurs twice within daylight hours—once at dawn and once at dusk.

Pat O'Neill, one of the most interesting filmmakers in America today, offers a dazzling reflection on the conflict between nature and man in Los Angeles, or the desertification of the city's surroundings due to its enormous water consumption. More interestingly, it is also a film in the age-old tradition of city symphonies: a film about LA's foundation myths and the dreams it embodies, about its history and (grim) future, its topography and ethnography. O'Neill uses footage from several classic films to recreate the several layers of meaning emanating from the city, juxtaposing images and fantasies and hardly ever allowing one picture to go untouched. George Lockwood's swarming soundtrack is likewise composed of conflicting languages, an elaborate work of plunderphonics in which snippets of sound stolen from movies collide with electronic soundscapes, contemporary chamber music, improv, and what not.

Many films by this master of landscape cinema are cinematic studies of specific landscapes, as is the case with SOGOBI – the Shoshonean word for "Earth" –, Benning's approach to the Californian wilderness in 35 carefully composed scenes with a great depth of field and devoid of humans. "I spent a year in the middle of nowhere and perhaps this is the closest I've come to portraying a true sense of place." (James Benning)

An animation made of beach sand on a piece of glass - directed by Caroline Leaf. Based on Kafka's The Metamorphosis.

The tv/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For 'energie!' an uncontrolled high voltage discharge of approx. 30.000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization.

Mother gets a visit.

"I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. One day of the Cassis port filmed in one shot." -JM

Duras narrates a short story while the camera travels through the streets of Paris with short interludes of solemn music.

A man and a woman have been living together for six months. After disappearing for two days, the man returns and acts as if nothing has happened, refusing to say where he was.

A recently unearthed experimental documentary of the crashing sea set to Mendelssohn's "Fingal's Cave." An example of the filmmakers' "new cinema" theory which held that film should be more like music than literature. This film is based solely on its arrangement of images.

Peter Hutton’s meditation on the Hudson River.

Philosophical essay about the October Revolution of 1917 in Russia, its influence on the destiny of the world in the 20th century.

Beavers shot The Hedge Theatre in Rome in the 1980s. It is an intimate film inspired by the Baroque architecture and stone carvings of Francesco Borromini and St. Martin and the Beggar, a painting by the Sienese painter Il Sassetta. Beavers’ montage contrasts the sensuous softness of winter light with the lush green growth brought by spring rains. Each shot and each source of sound is steeped in meaning and placed within the film’s structure with exacting skill to build a poetic relationship between image and sound.

What lives in the space between the stones, in the space cupped between my hand and my chest? Filmmaker/stonemason. A tower or ruin of remembrance. With each swing of the hammer I cut into the image and the sound rises from the chisel. A rhythm, marked by repetition, and animated by variation; strokes of hammer and fist, resounding in dialogue. In this space which the film creates, emptiness gains a contour strong enough for the spectator to see more than the image – a space permitting vision in addition to sight.

Scrolling excerpts from the diary of George Wallace's would-be assassin Arthur Bremer at screen bottom, Hank Aaron cards and ephemera from his entire career up top, and alternating audio clips of popular songs and highlights from the news throughout Aaron's career.

A self-consciously Kafkaesque tale of a winged lonely man literally devoured by totalitarian rule.

Dekeukeleire's film evokes the notion of impatience via fragmented images of a revving motorcyle, a woman's expressions, and roads of a mountainous landscape.

"The Hart of London" is an endlessly layered tour de force. It explores life and death, the sense of place and personal displacement, and the intricate aesthetics of representation. It is a personal and spiritual film, marked inevitably by Chambers’s knowledge that he had leukemia. The late American avant-garde filmmaker Stan Brakhage said of Hart, "If I named the five greatest films [ever made], this has got to be one of them." Even this high praise falls short of hyperbole. The Hart of London is at the centre of Chambers’s extraordinary achievement.

This ground-breaking cinéma-vérité classic documents five weeks in the lives of twelve children in a home for emotionally disturbed children. It is the first in the form that King later described as actuality drama. All the action is spontaneous and undirected, with neither interviews nor narration. The theme is the outrage of life. The children asked the filmmakers, Why is it that whenever pictures of us are put in the papers, our faces are blacked out. What is so awful about us that we cant be seen? They wanted to be filmed so that they could be seen.

A 1971–72 documentary film by Jonas Mekas. It revolves around Mekas' trip back to Semeniškiai, the village of his birth.