Rejoice in the astonishing all-new footage of Spielberg at work in documentary filmmaker Laurent Bouzereau’s revealing The Stories of West Side Story. Composed of Opening, Prologue, Sharks & Jets, Dance at the Gym, The Romance, America, Gee, Officer Krupke, Cool, From Quintet to the Rumble, I Feel Pretty, Somewhere, Finale, and Tribute.

Margaret keeps her neighbours at a distance and avoids contact except with Cara. She enjoys her company just for making music since Cara plays the violin accompanying Margaret at the piano. Because of her arthritis she accepts the housemaid Robin who wants to become an actress. With this naive pretty girl her life gets suddently really exciting and she makes a lot of new friends.

Filmmakers, social scientists and authors take a provocative look at the moral, political and ethical themes of the Dirty Harry films.

Filmmakers, social scientists and authors take a provocative look at the moral, political and ethical themes of the Dirty Harry films.

In the dusty streets of Crow's Landing, outlaws, wealthy plantation owners, runaway slaves, a half Cherokee girl, a pair of brothel owners and a woman days away from giving birth all end up in a bloody shoot out and running for their lives.

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video. (Letterboxd)

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video. (Letterboxd)

The guardian of a nursing home lends a compassionate ear to the complaints of two new pensioners who love each other and have only one dream: to see the sea. To help them realize their dream, the brave man steals the car of the director. She quickly discovers the crime and drags her pale husband to the pursuit of the trio, aboard a tanker truck...

The Second Amendment of the Constitution forms the basis of this drama that follows the crusade of a lawyer to allow citizens to carry handguns. He launched his fight after his wife and daughter were killed during a robbery.

The Macahans, a family from Virginia headed by Zeb Macahan, travel across the country to pioneer a new land and a new home in the American West.