Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

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A new light on American filmmaker Steven Spielberg, Hollywood’s greatest director, offering a unique perspective on his work and digging into his personal influences.

Conversation with Steven Spielberg about the movie "Lawrence of Arabia."

The Steven Avery case has become a national obsession. ID Front Page brings you the story of the man who served 18 years in prison for a crime he never committed... only to find himself back behind bars just two years later, charged in a brutal murder.

Swedish television presenters/entertainers Filip Hammar and Fredrik Wikingsson have been given the chance to interview Steven Spielberg for one minute. What will they ask?

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Dedicated to the One Eye Love is a Chaplinesque meditation on silent film, and a rather apocalyptic view of Chicago in the early 1970s. A homeless man roams the streets of an empty downtown. The sky keeps flashing as though bombs were dropping, or perhaps the BIG one. He meets a woman in an abandoned building. They dance and part company.

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Edith is a hotel waitress, single and in her mid-forties, with a major infatuation on Maurice Silcox, the hotel's head waiter. But Edith becomes distraught when she learns that Maurice has been offered a more prestigious job at a luxury hotel. Maurice explains to Edith that he can only take the position if he is married. Unaware Edith's crush, Maurice proposes. She accepts and they set up a household for business purposes only -- complete with a photograph of a make-believe son. As Edith continues to live with this charade, her obsession with Maurice and the "son" grows, leading to a shocking and disturbing outcome!