Set in a small-town hospital, the film tells the story of the great suffering of a small rascal, nicknamed “Lies and Steals“, who promises his little partner that he will bring St Nicholas - a traditional figure of Czech Advent - to the hospital room. He fails to keep this promise, his efforts being thwarted several times by the pedantic head nurse, who is called the Old Goat. In the course of the plot, the strained relationships between the three adults - the alcoholic Dr. Koníček, the head nurse and the young nurse Pipka - are revealed, all burdened with various resentments, false illusions and disappointed hopes. Despite all the conflicts, and as if by a miracle, there is a kind moment of extraordinary emotional understanding at the end, and Nicholas finally appears in the hospital.

A deep dive exploration of the science and creativity in the making of 'Frequency'

A spin-off from the 2013 comedy 'The Heat' centering on the characters Beth and Gina.

A.J Cutler discusses The Once and Future Smash and End Zone 2

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."

A thirty-nine minute sketch film for TASTE OF CHERRY that Abbas Kiarostani made with his son Bahman Kiarostami.

When two idiot friends realize all "faith based" films make buckets of cash, they set out on a mission to make one of their own.

Massive engineering mistakes occur all over the world, some with devastating consequences. These are assessed by design teams, eyewitnesses, and experts who analyze what went wrong and how the engineers fixed the mistakes.