The Sweet Advance of the Knife

Lucha libre is part of Mexican culture, but how did something that was shown in circuses and fairs become a cinematic genre? Join us to learn about this trajectory.

A young man talks to his psychiatrist about strange visions he has been having in his dreams.

A woman and her child are kidnapped by her lover and plans revenge on him.

A poet gets dejected with the materialistic society around him. The only person he gets some sympathy from is a washed out working girl who gives him shelter. Rejected by publishers, he gains fame when his death is reported by a newspaper.

A young, tormented boy struggles to let go of his abuser, guided by haunting dreams and a mysterious new coworker.

Meet the man widely regarded as the greatest writer in the English language, called England’s “national poet”: William Shakespeare.

The documentary director's reminiscences of his past protagonists, themes and inspirations as well as meetings with old friends and colleagues.

A family drama about a young woman who kidnaps a decorated WWII veteran. Their road adventure fills with quirkiness and unforeseen dangers.

Documentary footage showing the alligator in several stages of growth, from babyhood to a ripe old age; a film taken at an alligator farm in California. In early 1913 as Thanhouser staff and crews were setting up a facility in Los Angeles, cameraman Carl Louis Gregory was taking documentary footage, from which four “split reel” short subjects were created: A MILLION BIRDS, filmed at California pigeon and ostrich farms; LOS ANGELES THE BEAUTIFUL (two different version with the same title), showing scenic attractions; and SEVEN AGES OF AN ALLIGATOR, filmed at an alligator farm. Released together, HIS UNCLE'S WIVES and SEVEN AGES OF AN ALLIGATOR filled up one 1,000-foot “split reel.” (Fandor)

Sometimes love is a tangled fantasy with lots of tragedy, feel-good moments, and more blended emotions. That's what happened in Aditya & Kaaviya's relationship.

The movie has a fixed point of view showing a bed with two characters on it, Sedgwick and Piserchio. Chuck Wein is heard speaking but is just out of view. Sedgwick is wearing a lace bra and panties, and Piserchio, wearing only jockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed to harass and annoy her. Piserchio is more or less a bystander not interacting with Wein. The dialogue seems created adlib and no conclusions are reached in the film. The only conceivable climax is when Sedgwick finally becomes so mad, she throws a glass ashtray at Wein, breaking it.