Some Opinions on Hoover Board's Dry Law Report

In a field dominated by men, five pioneering camerawomen Mary Rogers, Cynde Strand, Jane Evans, Maria Fleet and Margaret Moth went to the frontlines of wars, revolutions and disasters to bring us the truth. As colorful as accomplished, these brave photojournalists made their mark by capturing some of the most iconic images from Tiananmen Square, to conflicts in Sarajevo, Iraq, Somalia and the Arab Spring uprising. But the world doesn’t know it was these women behind the camera. In the midst of unfolding chaos, the pictures they took for CNN both shocked and informed the world. This feature documentary by director Heather O’Neill tells their remarkable story.

Katie doesn’t usually sleep with women, but that’s about to change.

A baby dragon and a little bird fail to make beautiful music together.

Documentary short showcasing the genius of jazz greats Coleman Hawkins, Roy Eldridge, Cozy Cole, and Milt Hinton, among others.

How to get warm while camping

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

A New York gangster and his girlfriend attempt to turn street beggar Apple Annie into a society lady when the peddler learns her daughter is marrying royalty.

Adela is a single mother, hardworking and humble. While she works, her mother takes care of her son. Immersed in her obligations that don't allow her to think about her, she will be forced to open her eyes and face a new reality when, on an early morning, her mother runs away from home and begins to show the first signs of dementia.

Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).

At Sonjas Grill, Bella is sitting around waiting for her boyfriend Gabbe. An old text-message conversation between Gabbe and his ex sheds new light on their relationship.

She is on the way out of the house when she sees an envelope. Jamila’s family has received a rejection of their asylum application. She acts as if she doesn’t see it, takes her younger sister to school, and meets up with her friends. But everywhere she turns she sees them – the police.

'Tot ziens!'

Since the timeless night, on the life's plains, humanity faces the Sorcerers of Evil's indefeasible designs...

In the 1960s, after the love of his life leaves him in the dust, a young soldier in Boston's Italian Mafia must decide whether his future will be one of violence and lust, or love and morality.

In this tale of second chances, two ex-lovers run into each other in a restaurant. Both are with new partners. Both are unhappy. Both are still in love with the other. Dormant feelings rush to the surface and the opportunity to rekindle the past presents itself. Will the outcome be different?

In Sara's class, the popular kids, also known as the kings and queens, are subjected to daily humiliations, which include having their pants pulled down or water thrown on them, but this is only a sign of their elevated status. Sara is the only blond and blue-eyed girl in her class, and she is completely overlooked by the kings and queens who do not have blond hair and blue eyes. She has a secret crush on one of the kings, who is way out of her league, and she doesn't have any friends either, but would like to become friends with Karen, also an outsider who aspires to a better status. One day, Sara eyes an opportunity to boost her popularity by humiliating herself and thereby become queen. Karen instantly becomes her friend, she seems to catch the eye of her kingly crush and popularity appears within her reach. However, her happiness is short-lived, and in the end she learns a far more valuable lesson than how to be queen for a day.

On the beach at sunset a man waits for his one true love. When she arrives, a bittersweet romance ensues.

A damsel in distress agrees to run away with her wealthy lover in order to escape from her abusive husband. But all is not as it seems in this 1940s film noir.