A young woman battles evil when her family's estate is the over run by demons escaping from the basement through a secret door that leads to hell.

June 1988…Summer Was Never The Same. In the House of Flies tells the story of young lovers whose lives are inadvertently changed forever. An innocent couple, Heather (Lindsay Smith) and Steve (Ryan Kotack) suddenly find themselves abducted. By whom? For what purpose? Alone, isolated and locked in an undisclosed, suburban basement, Heather and Steve find themselves pawns in a psychological, mind-game with their diabolical hosts. Surrounded by several mysterious and locked suitcases – each containing valuable clues to their very own survival - Heather and Steve must exploit what remains of their bruised intellect and depleting sanity, to escape the authority of their unidentified and brutal abductors (Henry Rollins, Ryan Barrett). From this day forward, summer was never the same

The story of making "Lagaan," one of the millennium's seminal Indian films, is told from the point of view of production team member Satyajit Bhatkal.

Jason Mewes执导首部长片。

A once-famous football player must rent part of his house to support himself. A single mother and her two kids are the latest tenants. He also owns a sports clinic that he barely manages to run with help from his friends

The Madness of Max is a feature-length documentary on the making of arguably the most influential movie of the past thirty years. With over forty cast-and-crew interviews, hundreds of behind-the-scenes photographs and never-before-seen film footage of the shoot, this is without a doubt the last word on Mad Max (1979).Interviews include: George Miller, Byron Kennedy, Mel Gibson, Hugh Keays-Byrne, Steve Bisley, Roger Ward, Joanne Samuel, David Eggby, Jon Dowding and many more. From the Producers to the Bike Designers to the Traffic Stoppers, this is the story of how Mad Max was made.

It investigates the Medici family’s deaths through forensic and historical research in Florence.

A silent movie by Rober Wiene.

A symbolist portrait of two gypsies in love, this captivating film finds Dulac deconstructing onscreen gender roles and striving to achieve her idea of cinema as a “visual symphony,” emphasizing rhythmic editing over acting to achieve a “cinema of suggestion.”

After a very messy divorce, a man starts suspecting his ex-wife and her new boyfriend of various crimes.