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."

She Makes Comics traces the fascinating history of women in the comics industry. Despite popular assumptions about the comics world, women have been writing, drawing, and reading comics since the medium’s beginnings in the late 19th century. And today, there are scores of women involved in comics and its vibrant fan culture. Featuring dozens of interviews with such vital figures as Ramona Fradon, Trina Robbins, Joyce Farmer, Karen Berger, Kelly Sue DeConnick, and Becky Cloonan, She Makes Comics is the first film to bring together the most influential women of the comics world.

A 14-year-old prodigy's mother relies on him to find a way out of poverty, but he is haunted by the death of his friend; he must choose between the streets that raised him or the higher education that may offer him a way out.

A nervous, twelve-year-old Clint is having trouble enjoying his first date with Sally. For weeks, he has been practicing for his first kiss and now, the moment is almost upon him. He must make the right move or live a life of regrets and a missed opportunity.

Cousin George, a rather oafish dolt, more shy than stupid, needing assistance in learning about sex. Charles Canyon conducts the crash course that consists primarily of voyeuristic observation. Darby Llyd Rain plays a woman on the farm.

A med school burnout returns to his small home town, but when he decides against telling his mother that he dropped out, complications ensue.

The Thomsons, like many families, have hit hard times as Thomas can't find steady work. Fifteen year old Booky takes the family situation in stride, being matter-of-fact about being poor. Beyond her loving family, there are some things about her life she likes, such as being the president of her local Deanna Durbin fan club, and going out with a boy named Lorne.

Based on Leo Tolstoy's Anna Karenina, Whatever Makes You Happy is an exploration of the all too common trappings of dissatisfaction and infidelity in the relationships of urban twenty somethings. Anna is a practical and bookish grad student. She lives a comfortable, yet safe life of study, friends, and her long time boyfriend Kevin. Alex is a musician, living the carefree urban hipster lifestyle, perfectly happy to coast through life unencumbered. Everything changes when by chance Anna and Alex meet through friends and connect in a way neither of them expected. This unlikely pair start a fiercely heated affair, putting both of their worlds in jeopardy. Is what they have together enough to survive the damage it causes?