Romuald & Juliette

The Wild Chicks are slowly growing out of their youthful gang years and have to face the worries of growing up on the sidelines of a big class trip before graduation.

In a sleepy Louisiana parish, a group of lifelong friends stage a rather unorthodox intervention to help a young playwright unravel the truth about her complicated mother and let go of her painful past.

Shallow, rich and socially successful Cher is at the top of her Beverly Hills high school's pecking scale. Seeing herself as a matchmaker, Cher first coaxes two teachers into dating each other. Emboldened by her success, she decides to give hopelessly klutzy new student Tai a makeover. When Tai becomes more popular than she is, Cher realizes that her disapproving ex-stepbrother was right about how misguided she was -- and falls for him.

Mario and Luigi, plumbers from Brooklyn, find themselves in an alternate universe where evolved dinosaurs live in hi-tech squalor. They're the only hope to save our universe from invasion by the dino dictator, Koopa.

The original '70s TV family is now placed in the 1990s, where they're even more square and out of place than ever.

Elation in Neustadt: by the means of a little witching, Bibi Blocksberg saved two kids from burning to death. While her mother Barbara, a witch of flesh and blood herself, is very proud of her daughter, father Bernhard, overworked and stressed, disapproves greatly of her supernatural antics. Then Bibi gets a message from Walpurgia, the senior witch: she is going to receive her crystel ball, that will make a "real" witch of her, early. Proudly, Bibi jumps up her broom to fly to the Blocksberg, the witches' headquarters. But Rabia, one of the few evil witches, aging in misery and with a secret, begrudges her all the glory...and her youth. And so Rabia sets off events that will soon make Bibi's life fall into pieces.

Waxing nostalgic about the bittersweet passage from childhood to puberty, four childhood girlfriends — Teeny, Chrissy, Samantha and Roberta — recall the magical summer of 1970. During their walk down memory lane, they reconcile experiences with boys, secrets, bullies and more.

A support program brings the two convicts Gerd and Steinbock into the care of women. There they are supposed to prove that they are capable of integrating into society. Now Gerd stupidly kills a bar owner. This puts an end to their excursion into freedom for the time being.

Sought by police and criminals, a small-time huckster makes a deal with a TV newsman for protection.

Mollie and James are together and raising a family, which now consists of an older Mikey and his baby sister, Julie. Tension between the siblings arises, and as well with Mollie and James when Mollie's brother Stuart moves in. Mikey is also learning how to use the toilet for the first time.

Escaping from a policeman who has caught h.im with a stolen dog, Toto (Albert Préjean), a petty crook, hides in the apartment of a typist, Ginette (Renée Saint-Cyr). The two quickly fall in love, and after a brief incarceration, Toto returns to her and schemes to have her win a beauty contest.

A growing number of onlookers disrupt an archeologist as she tries to work.

Book superstore magnate Joe Fox and independent book shop owner Kathleen Kelly fall in love in the anonymity of the Internet—both blissfully unaware that he's trying to put her out of business.

Three lovable party buds try to bail their friend out of jail. But just when the guys have mastered a plan, everything comes dangerously close to going up in smoke.

After a single, career-minded woman is left on her own to give birth to the child of a married man, she finds a new romantic chance in a cab driver. Meanwhile, the point-of-view of the newborn baby is narrated through voice-over.

Jan Oxenberg’s charmingly raw, politically-charged and remarkably funny celebration of the American lesbian experience validates the nuanced voice of a community otherwise underrepresented in the Wild West of mid-’70s independent filmmaking. In an attempt to combat the pervasive misconception of the “humorless, angry feminist,” the vignettes in A Comedy in Six Unnatural Acts experiment with self-aware yet playful depictions of common stereotypes, such as the “Stompin’ Dyke” or the butch-femme couple. In the process, Oxenberg’s short film reclaims those insults and assumptions as newfound, loaded weapons—to deploy on her own terms, of course. (UCLA Film & Television Archive)