Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lynn Tyne search for her, and in the process meet other people whose children ran away. With their children gone, the parents are now free to rediscover/enjoy life.
A bucolic fantasy frolic in which an adaptable young woman must navigate a bewildering and whimsical phantasmagoria, populated by anthropomorphic and bombastic creatures. The characters she encounters, she discovers, reject established facts and knowledge in favour of: galvanising, albeit meaningless soundbites (often in the form of riddles and poetry), vigilantism and its blunt implementation of “justice” and cult-like acts of dissent. Ironically, leading these academic rebellions are the establishment figures themselves.
Willard, a mild mannered insurance adjuster, teams up with a foul-mouthed fowl who takes Willard on a surreal quest to become less uptight - and possibly get laid in the process.
A documentary about 1996/97 winter anti-regime demonstrations in Yugoslavia.
David, a riot policeman who caused Nacho, a protester, to lose an eye during a demonstration, meets him at a dinner party.
An anti-authority rogue in an old folks' home breaks all the rules and causes mayhem honoring his friend's dying wish to be buried at sea.
A documentary on the curious American domestic terrorist group, infamous for the 1974 kidnapping of Patty Hearst.
After a year in Europe, the young Samantha, daughter of a prominent American politician returns home. She is convinced that she was sent home because she was romantically linked to Nat Brook, a black revolutionary. After one of his numerous protests against violence, Nat feels he is being followed by two men sent by her father . But in the duel that follows the young revolutionary knocks out the two stalkers . Then he breaks it off with Samantha because, beyond the his feelings for her, she is starting to feel like a burden to his protesting activities.
A film crew shooting in the desert is terrorized by a vicious outlaw motorcycle gang (on dirt bikes, no less) who are after the women in the company.
A short profile doc on street artist MissMe—a sort of Banksy-esque underground figure with a feminist bent. While the short portrait documentary field is certainly overcrowded, director Mohammad Gorjestani’s film is beautifully shot and quickly paced. It’s got a certain energy that can’t be denied (much like artwork driving the film). Plus, the central character is an inspiring symbol of artistic authenticity and self-liberation. A former advertising executive, MissMe ditched her high-profile corporate day job to become a counter-voice to the objectification of women in the mainstream advertising world. Girl power, indeed.
The personal story of six unique characters that have helped build fan owned F.C Utd of Manchester: from an idea down a pub, to the reality of their very own 5,000 capacity stadium. The film is an ode to these heroes of the beautiful game!
Shelley is a British sitcom made by Thames Television and originally broadcast on ITV from 12 July 1979 to 12 January 1984 and from 11 October 1988 to 1 September 1992. Starred Hywel Bennett as James Shelley, originally 28 years old and a sardonic, perpetually unemployed anti-establishment 'freelance layabout' with a doctoral degree. In the original run, Belinda Sinclair played Shelley's girlfriend Fran, and Josephine Tewson appeared regularly as his Landlady, Edna Hawkins. The series was created by Peter Tilbury who also wrote the first three series. The scripts for subsequent episodes were by Andy Hamilton and Guy Jenkin, Colin Bostock-Smith, David Frith, Bernard McKenna and Barry Pilton. All 71 episodes were produced and directed by Anthony Parker. Series seven was titled on screen The return of Shelley, and was broadcast in 1988. This time round, Shelley is separated from Fran, and lives on his own, doing his best to avoid obtaining gainful employment. The series begins with Shelley returning to the UK from Saudi Arabia, where he had taught English for a few years, only to find that his calls to his old friends are now screened by answer phones and that yuppieness has taken root in his old neighbourhood. The final three series returned to the on-screen title of Shelley.
