The Sheik and I

When Francois Truffaut approached Alfred Hitchcock in 1962 with the idea of having a long conversation with him about his work and publishing this in book form, he didn't imagine that more than four years would pass before Le Cinéma selon Hitchcock finally appeared in 1966. Not only in France but all over the world, Truffaut's Hitchcock interview developed over the years into a standard bible of film literature. In 1983, three years after Hitchcock's death, Truffaut decided to expand his by now legendary book to include a concluding chapter and have it published as the "Edition définitive". This film describes the genesis of the "Hitchbook" and throws light on the strange friendship between two completely different men. The centrepieces are the extracts from the original sound recordings of the interview with the voices of Alfred Hitchcock, Francois Truffaut, and Helen Scott – recordings which have never been heard in public before.

A tribute to the late, great French director Francois Truffaut, this documentary was undoubtedly named after his last movie, Vivement Dimanche!, released in 1983. Included in this overview of Truffaut's contribution to filmmaking are clips from 14 of his movies arranged according to the themes he favored. These include childhood, literature, the cinema itself, romance, marriage, and death.

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In "Diana: The Mourning After" Christopher Hitchens sets out to examine the bogusness of "a nation's grief", tries to uncover the few voices of sanity that cut against the grain of contrived hysteria. His findings suggested that the collective hordes of emotive Dianaphiles sobbing in the streets were not only encouraged but emulated by the media. In the aftermath of Diana's death a three-line whip was enforced on newspapers and on TV, selling the sainthood line wholesale. The suspicion was that journalists, like the public, greeted the death as a chance to wax emotional in print, as a change from the customary knowing cynicism, to wheel out all those portentous phrases they'd been saving up for the big occasion. Sadly, they just seemed to be showboating; the eulogies, laments and tear-soaked platitudes ringing risibly hollow.

Tom and Hannah have been platonic friends for 10 years. He's a serial dater, while she wants marriage but hasn't found Mr. Right. Just as Tom is starting to think that he is relationship material after all, Hannah gets engaged. When she asks Tom to be her 'maid' of honor, he reluctantly agrees just so he can attempt to stop the wedding and woo her.

This is not merely another film about cinema history; it is a film about the love of cinema, a journey of discovery through over a century of German film history. Ten people working in film today remember their favourite films of yesteryear.

When his mother eloped with an Italian opera singer, Louis Mazzini was cut off from her aristocratic family. After the family refuses to let her be buried in the family mausoleum, Louis avenges his mother's death by attempting to murder every family member who stands between himself and the family fortune. But when he finds himself torn between his longtime love and the widow of one of his victims, his plans go awry.

Ren and Stimpy, on the streets starving, are captured by the dog catcher. They end up in the pound and become frightened when one of the dogs tells them of the "big sleep".

Documentary film interviews leading Latinos on race, identity, and achievement.

The God Complex is an irreverent, ultra‑low‑budget biblical satire that deliberately mocks well‑known stories from the Bible, turning God and key figures into broad comic caricatures. Rather than treating Scripture with any reverence, the film uses parody, crude humor, and exaggerated “logical” twists specifically to ridicule Christian beliefs and present the Bible’s narratives as silly and absurd.

Egon escapes from the psychiatric ward, where he has been incarcerated since the gang's last coup. Keld and Benny pick him up, and when Egon, as always, is planning the big heist, the Olsen Gang is once again on the move.

In 1930s Australia, Anglican clergyman Anthony Campion and his prim wife, Estella, are asked to visit noted painter Norman Lindsay, whose planned contribution to an international art exhibit is considered blasphemous. While Campion and Lindsay debate, Estella finds herself drawn to the three beautiful models sitting for the painter's current work, freethinking Sheela, sensual Pru and virginal Giddy.

As the first part of our investigation, the CORONA.FILM prologue will delve into the science behind the pandemic. Starting at the very beginning, we shine a light on the responses. The aim is not to point the finger; our aim is to tell the whole story in all its complexity, as we believe that justice cannot prevail if only one side of the story is told.

A man takes up residence with a mysterious marquis and is soon persuaded to enter into an asylum for preventative therapy. Things are not what they seem, and the marquis may be even more sinister than what the young man might have predicted.

The history of Bruguera, the most important comic publisher in Spain between the 1940s and the 1980s. How the characters created by great writers and pencilers became Spanish archetypes and how their strips persist nowadays as a portrait of Spain and its people. The daily life of the creators and the founding family, the Brugueras. The world in which hundreds of vivid colorful paper beings lived and still live, in the memory of millions, in the smile of everyone.

Mexico, March 2015. Carmen Aristegui, incorruptible journalist, has been fired from the radio station where she has worked for years. Supported by more than 18 million listeners, Carmen continues her fight. Her goal: raising awareness and fighting against misinformation. The film tells the story of this quest: difficult and dangerous, but essential to the health of democracy. A story in which resistance becomes a form of survival.