A representative of an alien race that went through drastic evolution to survive its own climate change, Klaatu comes to Earth to assess whether humanity can prevent the environmental damage they have inflicted on their own planet. When barred from speaking to the United Nations, he decides humankind shall be exterminated so the planet can survive.

An alien scout lands on earth in the year 1854. The creature is searching for water and food. Once it finds what it needs, it will call in an invasion fleet. A lone cowboy must stand against the alien invader or all will be lost.

The Earth Day Special is a television special revolving around Earth Day that aired on ABC on April 22, 1990. Sponsored by Time Warner, the two hour special featured an all-star cast addressing concerns about global warming, deforestation, and other environmental ills.

The Earth Day Special is a television special revolving around Earth Day that aired on ABC on April 22, 1990. Sponsored by Time Warner, the two hour special featured an all-star cast addressing concerns about global warming, deforestation, and other environmental ills.

A glowing meteor falls into a secluded pond into which Mafia hitmen have dumped the body of one of their victims. Students from the local college use the pond for a swimming hole. Then the fun begins.

A drama that tells the story of the physician and politician MUDr. František Kriegel, the hero of the Prague Spring of 1968, who was arrested and kidnapped to Moscow on the night of August 21st together with five leaders of the party and the state (Dubček, Černík, Smrkovský, Špaček and Šimon). He was the only Czechoslovak politician who managed to stand up to Brezhnev in Moscow captivity, even under the threat of liquidation, and not to sign the Moscow Protovol which meant agreeing to the occupation of Czechoslovakia in 1968.

Fueled by original music by members of Guns N' Roses, Bad Religion, No Doubt, Skid Row, Toad the Wet Sprocket, Hootie & The Blowfish and more... The Still Life tells the story of artist Julian Lamont who struggles to pick up the pieces of his tattered life in this poignant drama. A reclusive alcoholic, Julian creates a new art genre called Destructionism, and his works catapult him into the limelight. But as his success in the art world grows, Julian loses touch with the artist he truly desires to be, and his personal life soon tailspins out of control.

The film navigates this aftermath observing the signs of an evacuated civilisation. Marine life is represented in murals and as forms of architectural ornamentation. A dolphin remains still, joyfully stuck in mid air, turned to stone. In contrast to constant life and movement underwater, the other side remains still, quiet, and solid in a concrete-made world. Occasionally, the voices projected from the speakers interrupt these silences to make announcements to visitors. 　　The humans are gone but diverse life forms fill the architectural spaces they left behind. It’s as if amongst this absence the architecture and infrastructure of tourism whispers its own story. The pipes that once supplied aquariums and waterslides now breath notes. The curtains of a once luxurious hotel dance in the ocean rhythm. 　　These spectres of tourism are searched within the process of film production. The filmmakers make audible their casual conversations in which they search for meaning and imagine different lifeforms of the future. It might be relevant that a pandemic was sweeping through our world throughout the film’s production. Perhaps the film is a post-apocalyptic projection of their own remembered economic disasters. As a generation that experienced the false promises of progress and freedom, they also look into their own connections with the island of Capaluco: The collapse of the neo-liberal economy in Argentina and failed American dream to a Filipino immigrant.

Missing in action in Vietnam for thirty nine years, the remains of Lt. Jack E. Buchannon, U.S.M.C., are found and identified. He is brought home and awarded the medal of honor and is buried as a fallen hero. His three childhood best friends, all ex-marines and Vietnam veterans, get together after attending the funeral to raise a toast, look back on their lives, their friendships and their service to the country.

The film navigates this aftermath observing the signs of an evacuated civilisation. Marine life is represented in murals and as forms of architectural ornamentation. A dolphin remains still, joyfully stuck in mid air, turned to stone. In contrast to constant life and movement underwater, the other side remains still, quiet, and solid in a concrete-made world. Occasionally, the voices projected from the speakers interrupt these silences to make announcements to visitors. 　　The humans are gone but diverse life forms fill the architectural spaces they left behind. It’s as if amongst this absence the architecture and infrastructure of tourism whispers its own story. The pipes that once supplied aquariums and waterslides now breath notes. The curtains of a once luxurious hotel dance in the ocean rhythm. 　　These spectres of tourism are searched within the process of film production. The filmmakers make audible their casual conversations in which they search for meaning and imagine different lifeforms of the future. It might be relevant that a pandemic was sweeping through our world throughout the film’s production. Perhaps the film is a post-apocalyptic projection of their own remembered economic disasters. As a generation that experienced the false promises of progress and freedom, they also look into their own connections with the island of Capaluco: The collapse of the neo-liberal economy in Argentina and failed American dream to a Filipino immigrant.