Following the death of her husband, Michelle and her daughter, Norah, move into a new condo for a fresh start. They quickly discover that their fresh start has become a new nightmare.

Three strangers share an obsession with true crime and suddenly find themselves wrapped up in one.

The journey of She and Loverboy – a dealer of the sacred flower’s seeds. Led by the invisible force of the kidnapper, she is soon caught in a delusion of their strangely automatic, lonely honeymoon

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

With hopes of shattering Hawaii's slow "island time" reputation, Hawaii residents Tyler and Deandra Dickensen work hard to create a successful building company. From new construction to renovations, they'll create stunning homes.

With hopes of shattering Hawaii's slow "island time" reputation, Hawaii residents Tyler and Deandra Dickensen work hard to create a successful building company. From new construction to renovations, they'll create stunning homes.

A bored journalist reporter's baby monitor is picking up her neighbors' phone conversations, and one neighbor's dialogue in particular convinces her that he's a murderer.

Building Brick is the Behind the Scenes documentary for the film Brick (2006). Brick was written and directed by Rian Johnson in San Clemente, CA in 2003. The film stars Joseph Gordon-Levitt, Nora Zehetner, Lucas Haas, Noah Segan Building Brick was filmed and edited by L Jean Schwartz (Disclaimer: I shot most of this footage when I was 17 with my family camcorder, edited it when I was 19, and this is not a very high res version, but it has only been available on the German DVD so I wanted a way that my friends could see it) Also, I am endlessly immensely grateful to Rian Johnson for giving me the opportunity to be part of Brick.

Meet Colin Vesti, an aspiring writer working as a book publisher's gopher. Colin's life is jolted when his best friend Nick, and his dad/roommate arrange for a not-so-romantic dinner for four with Katie Evans, the gorgeous artist who has just moved in down the hall. Scheming tailors, a pompous art world celebrity, and a marriage-inclined Mr. Wrong populate this romantic comedy about young love in Manhattan.