Cruise

“The Lion and The Unicorn” is a short film inspired by the heraldic symbols found on the Royal Coat of Arms of The United Kingdom, the lion (representing England) and the unicorn (representing Scotland). The piece uses representations of both alliance and opposition to explore national identity within the context of the 2014 referendum on Scottish independence.

Broadcast journalist Shamal shocks the world when he reveals a dark secret.

Wile E. Coyote tries to drop a rocket bomb on the Road Runner from a balloon but inflates himself instead.

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).

Set in the future, the story follows a young soldier named Johnny Rico and his exploits in the Mobile Infantry. Rico's military career progresses from recruit to non-commissioned officer and finally to officer against the backdrop of an interstellar war between mankind and an arachnoid species known as "the Bugs".

Brian Cohen is an average young Jewish man, but through a series of ridiculous events, he gains a reputation as the Messiah. When he's not dodging his followers or being scolded by his shrill mother, the hapless Brian has to contend with the pompous Pontius Pilate and acronym-obsessed members of a separatist movement. Rife with Monty Python's signature absurdity, the tale finds Brian's life paralleling Biblical lore, albeit with many more laughs.

From the director RICHARD CORSO, FISH (2016), THE SALESMAN (2018) and CASSIDY BLUES (2020) and adapted from the short story by GREGORY FERBRACHE. PICNIC UNDER A GIBBET is a political satire about a court jester (SEAN MICHAEL CUMMINGS) a town fool (CODY DERMON) and a traveling plague doctor (LEONARD BARRETT JR) who enjoy a nice picnic under the corpse of the previous king.

A radical remix of the recent Transformers film, via synthetic collapse and critical revenge on its old & new fascist tropes > celebrating SPEED. NOISE. + DANGER. The fervent declarations & violent poetry of the Futurists are superimposed on the mythic morphology of the Autobot blockbuster’s machine mayhem. Images of death & destruction reign in a delirium of transformations as, to quote Marinetti: “We Decompose the Universe!”

This is a story about love.

A short film about not being able to choose what to wear on a night out.

A very rich and lonely dying man discovers the sperm he sold to help get through college has resulted in three children. He is determined to get this dysfunctional group together - whether they like it or not.

A duck hunter sends his stupid mutt to dog college, and he comes back superciliously clever.

Sylvester Cat accepts a position as mouse-catcher on a ship, and his son, Junior, accompanies him. They encounter baby kangaroo Hippety Hopper being shipped from Australia and, as usual, mistake Hippety for a giant mouse.

It's the middle ages (sort of); Popeye is working in Bluto's Beanery. Bluto is going to the ball where Princess Olive will choose her mate. Popeye's fairy godpappy appears and it's a reverse Cinderella story, with a car created from a can of spinach.

Barney Bear sets out to capture the world's smallest horse.

To live and dine in L.A. It's the place to be. At least for several troubled locals and garrulous German tourists whose lives, for one reason or another, intersect for a star-studded dining experience they will not soon forget. What begins a droning and less than promising evening quickly blossoms into Tinseltown bliss as the curious strangers find themselves dining with none other than The Hoff (David Hasselhoff). However, as he touches each of their lives with the manifold skills and insights of his most celebrated roles, they soon realize The Hoff has much more to offer than mere stardom.

A woman is looking for a new man and settles for a bastard available for half the price.

A wealthy man, who is financially depend on his wife, hits the car to kill himself. Car owners and friends bring the man home. After the man wakes up, he asks them to kill him and even offers money. Describing the gap and difference between rich and poor, the short film surprises everyone with unexpected final.

The Extraordinary Child applies his developing style to broad slapstick. His friends from the previous films and the director himself play out a riotous farce about an overgrown baby who steals his father’s cigars. Everyone mugs hilariously. The movie could be taken as another example of the Romantic notion of the artist as a monstrous child or misfit, or a parody of the same rather than the personal confessional statement seen so often in these film movements.

Walter Pfeiffer tries to make some money by publishing a political newspaper for which people pay to get their article printed