Moonwalk One

Mara Maru

An American salvage diver plunges into dangerous intrigue around a sunken treasure in the Philippines.

Die Sklavenkarawane

The dreaded slave hunter Abu el Mot attacks the caravan and abducts the travelers, including Kara Ben Nemsi, his faithful companion Hadschi Halef Omar, the quirky scholar Ignaz Pfotenhauer and the English explorer Sir David Lindsay. Kara Ben Nemsi manages to escape with Hadschi Halef. To get help, they set off on a long journey full of impassable adventures...

I Nut-Nut e il segreto della Nutella

The Man Who Returned from Death

A gold digger kills her rich old husband and then is driven to the brink of madness when her late hubby starts haunting her. Is he really dead or a vengeful ghost?

Saikin rettō

Life on the Border

Life on the Border is a true story of life in the early days of America. It is the terrible experience of a young pioneer mother left alone for the day in her wilderness home with only a five-year-old child as company. The mother is accidentally imprisoned in a woodshed near the cabin, by her child. The little one tries in vain to lift the heavy latch, and while the mother is thus imprisoned, a bear, being pursued by a band of prowling Indians, arrives upon the scene. Frightened nearly to death, the child hides near a pile of logs. The imprisoned mother, thoroughly frightened, becomes frantic as the pursuing Indians come upon the scene. The Indians explore the grounds and ransack the empty cabin, finding the "fire water" and medicine chest. In their subsequent hilarity they set fire to the cabin and out-buildings, among them the shed in which the terrified mother is imprisoned. The drunken Indians, suddenly remembering the bear, depart in search of the animal.

A Balmy Swami

Popeye and Olive are taking in a variety show. Popeye enjoys the juggling seal very much, but he's followed by magician/hypnotist Bluto. Bluto spots Olive in her luxury box and immediate makes plans. First, he humiliates Popeye with a series of magic tricks. Next, he hypnotizes Olive, but while she's walking toward Bluto in a trance, Popeye points her the other way and goes after Bluto himself. Meanwhile, Olive has walked out the stage door and onto a construction site, and the boys race to save her. Popeye's efforts are hampered by Bluto's magic, like the instant brick wall he builds. Bluto awakens her, and she attacks him and then panics. Popeye throws her a hook to save her; it does, but it crashes through a window, bringing a piano (!) out with it. The piano crashes on the building, and Olive is catapulted by the strings to a distant platform. Another race to save her. As Popeye is trapped in a plummeting elevator, he breaks out the spinach.

Here, Freaks!

Three short stories about sex and sexual perversion.

Lifeline: Clyfford Still

Jackson Pollock said, “he makes the rest of us look academic,” Mark Rothko acknowledged him as a “myth-maker” and Clement Greenberg called him “a highly influential maverick and an independent genius.” Clyfford Still, one of the strongest, most original contributors to abstract expressionism, walked away from the commercial art world at the height of his career. Extremely disciplined, principled, and prolific, Still left behind a treasure trove of works like no other major artist in history. With a wonderful mosaic of archival material, found footage and audio recorded by the artist himself, Lifeline paints a picture of a modern icon, his uncompromising creative journey and the price of independence.

The Mouse from H.U.N.G.E.R.

Secret agent Jerry-akin has to steal a giant refrigerator full of cheese, guarded by the evil Tom Thrush with a vast array of diabolical gadgets and traps. Of course, Jerry has a few tricks of his own.

La Mer

The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.

El Mejor Error de Mi Vida

The Favorite

A French girl is kidnapped and sold as slave to the sultan of the Ottoman Empire.

No. 5 Reversal

No. 5 Reversal opens with a close up sequence of two women in animated conversation, followed by an aural page/station structure. The film combines elements of horizontal and vertical montage in the soundtrack, using white noise, and radio static as a fragmentation device. The visually striking black and white photography weaves lyrical, pastoral nature with the de- and re- construction of civilization. No. 5 Reversal ends with a filmic signature, an image of its maker framed in front of a window against a backdrop of ruins.