Rosemary Hochschild

Um ex-presidiário empreendedor supera a tragédia projetando um guia moderno para o sucesso de uma sociedade que falhou.

In the hills of Los Angeles the reclusive, stylish and enigmatic 96-year-old Harumi Taniguchi spent decades painting, writing poetry and dancing in her home designed by architect Richard Neutra.

On her 60th birthday, the proud owner of a Los Angeles strip club, finds herself in hot water over a twenty-five year old debt to the mob, leading her on a downward spiral of violence and revenge through the underbelly of Los Angeles.

Enquanto filmava sua relação sádica com as mulheres, a paixão de um assassino com uma vítima em potencial obriga-o a confrontar seu passado.

Following the erection of the Berlin wall, special agent Carl Halman is assigned by East German intelligence to move to New York where he’ll “sleep” as a writer until he is called. Using the code-name “April 23,” Carl successfully infiltrates the uptown-downtown literary world in 1950s New York. He edits a magazine, follows the Knicks, and marries Melinda, the socialite wife of best-selling jock novelist Hubert Cleaver, Ayden’s hilarious Norman Mailer pastiche. Through Carl’s eyes, we see New York City change from an outpost of Europe to the new capital of an anarchistic, post-ideological world. But then, when Carl least expects it, he’s called.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

Cansada da vida conjugal, Roberta (Rosanna Arquette) deixa-se seduzir por uma série de anúncios de classificados nos quais alguém procura Susan (Madonna) desesperadamente. Em Nova York, Susan é seguida por Roberta, que acaba vestindo uma jaqueta trocada numa loja pela outra e, aos poucos, agarra-se ao destino dessa personagem: Vê-se às voltas com bandidos, sofre um pequeno acidente que lhe causa amnésia e assume inadvertidamente a identidade de Susan.

Set in a motel room at NYC's Kennedy Airport, the film treats two days in the life of a deadbeat couple, an obsessive husband lost in a web of psychotic delusion and his immigrant wife.

Set in a motel room at NYC's Kennedy Airport, the film treats two days in the life of a deadbeat couple, an obsessive husband lost in a web of psychotic delusion and his immigrant wife.

Reel 25 of Gérard Courant’s on-going Cinematon series.

An aspiring young actor moonlights as a male stripper while looking for work in the theatre.

Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."

A psycho noir where stalkers, terrorists and government agents collide.