The Boris Karloff Mystery Playhouse is a 30-minute US television mystery anthology series, probably produced live. Boris Karloff hosted twelve episodes that aired from September to December 1949. All but five titles appear to be lost.

Boris Karloff: The Rest of the Story takes a deeper look at the life and career of Boris Karloff, from 1931 to 1969, exploring films such as The Ghoul, The Walking Dead (1936), Charlie Chan at the Opera (1936), the Mr Wong series, The Climax (1944), Lured (1947), The Strange Door (1951), Grip of the Strangler and Corridors of Blood(1958), The Comedy of Terrors (1963), The Curse of the Crimson Altar (1968), the Mexican quartet, some of his major TV appearances (The Girl From U.N.C.L.E., Wild Wild West, I-Spy) as well as taking a deep look at his often ignored Broadway career in the 1940s and 50's. There is also much time devoted to Karloff's more personal side and his relationship with his daughter, Sara.

Based on the play Boris Godunov by Alexander Pushkin, Dmitry Krymov’s Boris is a metaphor about the fate of Russia, its rulers and eternal values, subverting its ideas behind the cover of Pushkin’s text to show a direct line of the current governance of Russia with its imperial past, as well as all the myths on which Russian identity now rests. A flying raven, a poet, a folk choir, saints and sinners, living and dead - all come to life in the twilight of the Provision Warehouses of the Moscow Museum in this new interpretation of a classic work by one of the world’s most renowned stage directors.

Boris is a 3 years old little bear like all the others. He believes in his adventures with his toys giving them speech by the sole strength of his imagination.

Film historians, and producer Richard Gordon, talk about the horror movie career of cult star Boris Karloff.

Frankie Wallach, 25-year-old director, is fascinated by her grand-mother Julia, 94 years old, her death camp survivor story and her joyful personality. She wants to immortalize her as an heroine of fiction for her movie but it's without thinking about the other members of the family, who will want to be a part of it. At the Wallach's, everything is... FULL OF LOVE !

A depressed entertainer wants to conquer the stages of the world. He has only one problem: no one knows him. His ambitious sister wants to change that. She organizes a film crew to record his glamorous rise, but instead deep abysses reveal themselves behind the facade.

Our eternal theme is crime and punishment. In Boris Godunov, the problems of conscience and existential choice are linked to the history of the country. Pushkin says that these things are woven into a mysterious knot or pattern. The choice of each of us is also the choice of our own history. An incorrect individual choice or a karmic mistake can lead to a chain of fatal events. If a person finds himself in power, it can become a problem for the whole people.

The action takes place in Russia and Poland in 1598-1605. After the death of the feeble-minded Tsar Fyodor Ioannovich, Boris Godunov ascends to the Moscow throne by the decision of the Zemsky Sobor. Boris Godunov, who had gained great influence and power at court during the reign of Ivan the Terrible through intrigue, alliances, and arranging his sister Irina's marriage to Tsarevich Fyodor, had already gained significant influence during the reign of Ivan the Terrible. However, a new pretender to the throne suddenly appears: someone claiming to be the younger son of Ivan the Terrible, Tsarevich Dmitry, who was officially killed in Uglich in 1591.

Universally acknowledged as the greatest of all Russian operas, this is a faithful and often dazzling production of the standard Rimsky-Korsakov version taped live at the Bolshoi in 1978. As Boris, the renowned Yevgeni Neterenko is as justifiably identified with the role in his generation as Chaliapin, London and Kipness were in theirs. Nesterenko gives a remarkably vivid, human portrait of the tormented half-crazed Tsar, and is supported by a first rate ensemble in a richly designed and costumed production that represents opera at its grandest. Particularly outstanding are Vladislav Piavko as the Pretender, Valery Yaroslavtsev as Pimen, Irina Arkhipova as Marina (a role generally associated with Vishnevskaya), Galina Kalinina as Xenia, and Alexsei Maslennikov as the Simpleton.