The exploits of a group of men and women who serve the City of New York as police officers, firemen, and paramedics, all working the same fictional 55th precinct during the 3pm to 11pm shift - the 'Third Watch'.

In this East German film, the third one in The Third is Margit's third lover. After her mother's death, Margit has two affairs which don't work out, and one lesbian friendship which she retains. She is looking for a husband, though, and thinks she has spotted a candidate in her fellow factory worker. As she contemplates marrying him, her story is told in a series of flashbacks.

A CIA operative is the only man who can retrieve the stolen plans of an awesome weapons system and prevent a worldwide disaster. Set in Hong Kong, this film features a strong, all star cast, performing in a tangled web of Asian intrigue.

"Third Act" follows a beloved theater troupe facing eviction, prompting them to scheme a bank heist while filming on-site. Combining the humor of 'The Office' with the cinematic essence of 'Birdman', the film intertwines comedy and a behind-the-scenes vibe of the entertainment world.

A police detective is trying to locate his missing daughter, while solving other cases.

The twelve-year love story of two individuals with completely opposite personalities who unexpectedly met on a group blind date.

Love and marriage bloom in a game of truth with a woman who lives a fake life and a woman who tries to reveal it.

The Vatican sends a priest to verify some miracles, performed by a woman who has been nominated for sainthood...

Every machine needs fuel.... Every machine needs repair... Every machine breaks down.

The Third Memory, 2000. Two-channel video projection, with sound, 9 min., 32 sec.; single-channel video with sound, 22 min., 30 sec.; and thirteen inkjet prints, edition 2/4, dimensions variable. 　　Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet’s acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist’s charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.