Marcia Nasatir

Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. Praised for her highly opinionated and feisty writing style and criticised for her subjective and sometimes ruthless reviews, Kael’s writing was refreshingly and intensely rooted in her experience of watching a film as a member of the audience. Loved and hated in equal measure – loved by other critics for whom she was immensely influential, and hated by filmmakers whose films she trashed - Kael destroyed films that have since become classics such as The Sound of Music and raved about others such as Bonnie and Clyde. She was also aware of the perennial difficulties for women working in the movies and in film criticism, and fiercely fought sexism, both in her reviews and in her media appearances.

The life and career of Marcia Nasatir, the first female president of United Artists.

With the rapid emergence of digital devices, an unstoppable, invisible force is changing human lives in ways from the microscopic to the gargantuan: Big Data, a word that was barely used a few years ago but now governs the day for many of us from the moment we awaken to the extinguishing of the final late-evening light bulb. This massive gathering and analyzing of data in real time is allowing us to not only address some of humanity biggest challenges but is also helping create a new kind of planetary nervous system. Yet as Edward Snowden and the release of the Prism documents have shown, the accessibility of all these data comes at a steep price. The Human Face of Big Data captures the promise and peril of this extraordinary knowledge revolution.

Using rare footage and exclusive interviews with filmmakers from all over the globe, "Reel Herstory" corrects the historic notion that women behind the scenes in motion pictures held peripheral careers compared with their male counterparts.

現代から、約2000年前の古代中国。五行を操る魔力と、強大な武力を持った皇帝は、全土制圧の野望に取り付かれていた。その達成の為、不死の力を必要とした皇帝は、妖術師の女ツイ・ユアンに不死の力獲得を命じ、部下のミン・グオ将軍を伴わせ、遥かシルクロードに派遣した。そこでツイ・ユアンは不死の魔術を発見する。目的を果し都に戻って来た2人だが、彼女がミン・グオと愛し合うようになったことを知った皇帝は、2人に卑劣な罠を仕掛けた。愛するミン・グオが処刑される姿を目の当たりにしたツイ・ユアンは、深い悲しみと怒りから皇帝と臣下全員に呪いをかける。

On a tour of Britain in 1926, Harry Houdini enters into a passionate affair with a psychic out to con the famous magician.

3年前、ロッククライミング中に起きた事故で、ピーターは妹と自身を救うため父親の命綱を切ることを決断した。妹はそれを許すことができない。ピーターは苦悩から逃れるために山を拒否し、写真家となり、妹は父親の夢を追って登山家となる。そして世界第二位の高峰K2登頂に挑んでいたが事故に遭った妹は標高8,000mでクレバスに閉じ込められてしまう。妹を救うために世界で最も恐れられている山、K2へ向かうことを決意する。

3年前、ロッククライミング中に起きた事故で、ピーターは妹と自身を救うため父親の命綱を切ることを決断した。妹はそれを許すことができない。ピーターは苦悩から逃れるために山を拒否し、写真家となり、妹は父親の夢を追って登山家となる。そして世界第二位の高峰K2登頂に挑んでいたが事故に遭った妹は標高8,000mでクレバスに閉じ込められてしまう。妹を救うために世界で最も恐れられている山、K2へ向かうことを決意する。

Architect Jonathan moves into an LA courtyard apartment complex; then one of his neighbors is murdered ... by mistake ... Jonathan was the intended victim!

Albany, New York, Halloween, 1938. Francis Phelan and Helen Archer are bums, back in their birth city. She was a singer on the radio, he a major league pitcher. Death surrounds them: she's sick, a pal has cancer, he digs graves at the cemetery and visits the grave of his infant son whom he dropped; visions of his past haunt him, including ghosts of two men he killed. That night, out drinking, Helen tries to sing at a bar. Next day, Fran visits his wife and children and meets a grandson. He could stay, but decides it's not for him. Helen gets their things out of storage and finds a hotel. Amidst their mistakes and dereliction, the film explores their code of fairness and loyalty.

南ベトナム937高地、簡単に挽き肉にされてしまう事から“ハンバーガー・ヒル”と呼ばれるようになったその丘の攻略を目指して進撃する米軍部隊を、ドキュメンタリー・タッチで淡々と描いたベトナム戦争映画。

1960年代後半、反戦運動の中でサムたち8人の学生は強い連帯感で結ばれていた。十数年後、再び集まった彼らは過去の絆を思い出したかに見えたが……。ベトナム戦争世代の心情をリアルに描いた作品。

An exploration of the relationship between Beat Generation writers Jack Kerouac and Neal Cassady, and Cassady's wife, Carolyn.

Who should direct the film? Who should write it? Who should edit the final product? With major Hollywood studios, these questions lie within the producer's domain.