The Dracula Business (1974)

In this deeply personal film, director Roger Ross Williams sets out on a journey to understand the complex forces of racism and greed currently at work in America's prison system.

In this amusing antiwar comedy, seven inept and reluctant soldiers land on a desert island to carry on with the fighting. Just after their parachutes have collapsed behind them on the beach, helicopters approach and land nearby. Out pops a bevy of beautiful women sent to entertain the troops, which they do, and then they leave. From that point onward, there are a series of misadventures

In the middle of a broadcast about Typhoon Yolanda's initial impact, reporter Jiggy Manicad was faced with the reality that he no longer had communication with his station. They were, for all intents and purposes, stranded in Tacloban. With little option, and his crew started the six hour walk to Alto, where the closest broadcast antenna was to be found. Letting the world know what was happening to was a priority, but they were driven by the need to let their families and friends know they were all still alive. Along the way, they encountered residents and victims of the massive typhoon, and with each step it became increasingly clear just how devastating this storm was. This was a storm that was going to change lives.

A social media influencer’s life takes a turn for the worse from an online stalker, leaving her to suspect the “perfect” guy next door.

No overview available.

In every corner of our vast country there are talented people worthy of recognition and glory. They flock to the capital and take part in popular television shows. But the spotlights go out, and life goes on. And not as they saw it ... Each of the heroes - young and adults, ambitious and modest, lonely and in love - will have to go through many trials. They are waiting for ups and downs, meetings and partings, friendship and betrayal. But in the end they will become one big team, a family that unites different people from the most remote towns of our big country, in the name of music, talent and, of course, love!

The movie arose out of our sparetime as teenagers with fresh driver’s licenses and cobbled-together camera gear, wandering around a tired and honestly pretty grim post-industrial mill community, reinforced with after-hours access to the darkroom at the Sun Journal (where Aaron’s dad was the visuals editor), and some half-formed education in the techniques of Robert Frank, Frederick Wiseman, Dogme 95, Italian neorealism, pre-Obama Shepard Fairey, plus whatever culture pushed its way through the creaky pipes of low-bandwidth dial-up internet, or was smuggled up the actual superhighway of I-95 from Boston and eventually New York, or mailed first class via United States Postal Service from a burgeoning Netflix in those classic matte red envelopes, as valuable and rare as cash sent from China. [...] Somehow we negotiated access to a Canon XL1 3-CCD MiniDV camera and shotgun mic from the local public access station, in exchange for taping the high school graduation we didn’t participate in.

An unknown girl breaks out of her daily grind by undergoing an intense audio-visual trip.

An excellent comprehensive look at all the music that came out of Cincinnati, Ohio. Cincinnati "Rock Legends" "James Brown" "King Records" "Pure Prairie League" "Lemon Pipers" "Syd Nathan" WEBN "Bootsy Collins" "Lonnie Mack" "The Who concert 1979" "Rick Derringer"

Ghost nation? Violent home? Traumatised country? What does the horror of one of the most famous writers of our time hide? What does his fictional America expose? To what extent does cinema feed itself off his unique vision and expression of fear? In other words: what kind of America is Stephen King telling us about?