Set in the institutional monotony of a senior care facility, Joan's Teeth follows Joan, funny, sharp, and unflinching, as she wrestles with the betrayals of aging and the stubborn remnants of the past. Her dentures become a darkly comic metaphor for everything she can't control: desire, loss, and mortality. Both tender and unsettling, the film is a chamber piece about defiance in decline, a woman refusing to go quietly, holding on to her bite until the very end.

A hauntological exploration of Northern Ireland’s landscapes and the remnants of its occupied past, blending together eerie archive footage and voyeuristic location shooting as a ghostly figure lingers through the shadows of a long-abandoned military fort.

国家地理频道将与Amblin电视制片公司、索尼电视制片公司和CrichtonSun公司合作，改编Michael Crichton的手稿《Dragon Teeth》。这本书在Michael Crichton生前并未出版，是他的遗孀在整理资料时发现的。故事讲述了现实生活中古生物学者Edward Drinker Cope和Othniel Charles Marsh之间举世瞩目的学术矛盾，故事背景设定在化石大发现和大争议的年代。该剧主人公William Johnson是虚构人物，他起初师从Cope，后来又转投Marsh门下。他充分运用两位老师所传授的知识，最终有了重大的历史发现。Crichton在书中巧妙地将“化石战争”黄金年代Marsh和Cope的学术争论，转化为一个以1878年美国西部为背景的惊悚故事，有机融合了科学、探索和冒险三种元素。

Instructs on the importance of ante-natal care and proper diet in helping children to grow healthy teeth.

暂无剧情简介

A grandmother escapes her assisted living facility and goes to jail with her teenage granddaughter.

A last laugh tale of two old friends, their teeth and a fishing trip that leaves them lost for words.

A man's search for his wife leads him on a strange and unsettling journey. A story of lost love and parallel lives, of those that have disappeared and the ones who must find them.

The private Joan Crawford fought as hard to create a normal family life as she did to establish her career. She forged her own path and to that end became a single parent, eventually adopting and raising four children. Like many parents, she picked up a 16mm camera and began filming both the special and the ordinary events of her family’s life. These home movies (ca. 1940–42) present that which one rarely gets to see: a larger-than-life personality at home, unadorned, just being herself—and often in color, at a time when her feature films were black and white. Crawford filmed most of the home movies herself; when she is on camera, it is unclear who is behind it.

Jeanne is interned in a psychiatric hospital. She claims to be Joan of Arc.