Documentary short film depicting the work of the United Service Organizations (USO) in providing recreational and morale-boosting services for American troops.

The story of the underwater war between US, UK and Soviet submarines in the second half of the 20th century.
Part 1: Know Your Enemy
For decades, Britain and America's Cold War submarines waged a secret war of espionage against the Soviet navy. Deep in the ocean, crews were locked in a game of cat and mouse as each side battled to gain the tactical and technological advantage. After decades of silence, submariners from both the east and west are now allowed to talk more openly than ever before about how they plotted to win the war beneath the waves. The west's superior technology allowed them to secretly shadow the Soviet fleet, at close quarters, giving them vital intelligence and the upper hand if war broke out. Shadowing submarines was dangerous. The film explores close encounters between western and Soviet forces that put the lives of submariners at risk. Candid interviews with British, American and Russian submariners reveal the pressures of lengthy underwater patrols that drove them to the edge of their physical and mental limits.
Part 2: The Russians are Coming
Throughout the 1970s and 80s, the front line of the Cold War was hidden beneath the ocean. Submariners from three navies - American, Soviet and British - played a deadly game of cat and mouse in a secret war of espionage and intimidation. The nuclear balance between East and West was constantly shifting. This was a constant struggle to gain technological advantage, and the Soviets developed submarines that were ever more sophisticated - bigger, faster and more luxurious - than any developed by the West. For over 40 years the details of this tense stand-off have been a closely guarded secret. Now submariners from all three navies are able to talk more openly than ever before. They reveal how the underwater arms race took ballistic missiles beneath the Arctic ice, and they remember how it nearly ended in nuclear disaster at sea.

The Man Card" explores the right's five-decade mastery of white male identity politics. Ranging from Richard Nixon's tough-talking, law-and-order campaign in 1968 to Donald Trump's hyper-macho revival of the same fear-based appeals in 2020, the film shows how the right has mobilized dominant ideas about manhood and enacted a deliberate strategy to frame Democrats and liberals as soft, brand the Republican Party as the party of "real men," and position conservatives as defenders of white male power and authority in the face of demographic change and the ongoing struggle for racial, gender, and sexual equality.

以詹姆斯卡格尼为主力的明星们NG不断。黑白片里的神们也走下了神坛。

Whatever it is, there's nothing you can't tell the woman you love.

Director Howard Brookner died of AIDS in NYC in 1989 while in post-production on his breakthrough Hollywood movie. His body of work has been buried for 30 years in William Burroughs' bunker until his nephew Aaron unearths his uncle's story and the memory of everything he was.

A hit man and his partner try to find out why their latest victim, a former race-car driver, did not try to get away.

本片由俄罗斯公司MediaStar制作于2011年，为纪念人类首次进入太空50周年而制作，通过历史影像、情景再现、电脑特技等手段展现了那段令人激动不已的太空探索大时代，可以说，苏联和俄罗斯的航天史就是半部人类的航天史，从齐奥尔科夫斯基到科罗廖夫，从东方号到和平号，从首次载人飞行到探索火星，从加加林到科马洛夫，每一次进步都承载了战斗民族智慧与勇气。

讲述二次大战后，一名美国退役军人回到中国。为了拯救难民，和一名女教师来到香港，因而与黑社会人物质发生冲突，双方展开了大斗法。

Five young adults in a small American town face the revelations of secrets that threaten to ruin their hopes and dreams.

A southern town is rocked by scandal when teenager Mary Clay is murdered on Confederate Decoration Day. Andrew Griffin, a small-time lawyer with political ambitions, sees the crime as his ticket to the Senate if he can find the right victim to finger for the crime. He sets out to convict Robert Hale, a transplanted northerner who was Mary's teacher at the business school where she was killed. Despite the fact that all the evidence against Hale is circumstantial, Griffin works with a ruthless reporter to create a media frenzy of prejudice and hate against the teacher.

故事发生在1945年，抗日战争刚刚结束，全世界都洋溢着重回和平的喜悦。茜斯特护士（帕德里夏·妮尔 Patricia Neal 饰）的病房里转来了一个名叫麦克劳拉（理查德·托德 Richard Todd 饰）的特殊病人，他被弹片击中的肾脏，时日无多，而茜斯特护士的工作并不是使他回复健康，而是希望他能够在快乐和温暖之中离开人世。
麦克劳拉从小就失去了父母沦为孤儿，爱在他颠沛流离的生命中极为稀缺。麦克劳拉不懂得如何去爱，也不懂得如何接受别人对他的爱，因此，对于茜斯特护士的关怀，麦克劳拉总是拒之于千里之外。随着时间的推移，锲而不舍的茜斯特护士终于融化了麦克劳拉内心里的坚冰。

Berkeley in the Sixties is an award-winning documentary film by Mark Kitchell. The film features Mario Savio, Todd Gitlin, Joan Baez, the Rev. Dr. Martin Luther King Jr., Huey Newton, Allen Ginsberg, Gov. Ronald Reagan and the Grateful Dead. The documentary highlights the origins of the Free Speech Movement and the development of the counterculture of the 1960s in Berkeley, California.

目睹历史上最臭名昭著的首领，他们令人心惊的手下，以及那些发誓要让这些人下台的男人女人们。

The makers of the critically acclaimed 'The Union:The Business Behind Getting High', bring you the profound exploration of one of the most prolific wars of our time. 'The Culture High' is the riveting story that tears into the very fiber of modern day marijuana prohibition to reveal the truth behind the arguments and motives governing both those who support and oppose the existing marijuana laws.

One of the most significant filmmakers of his generation, Peter Watkins has made compassionate, uncompromising films and videos that challenge not only conventional styles and techniques but also notions of history and the media. The ever-timely The Journey: A Film for Peace, made between 1984 and 1987, is a pioneering attempt at a fully international cinema. Watkins worked with support groups around the world to raise money and assemble crews while shooting the film in the United States, Canada, Norway, Scotland, France, West Germany, Mozambique, Japan, Australia, Tahiti, and Mexico. He spent eighteen months editing the more than 100 hours of footage he compiled, weaving together extended family interviews, documentation of the global arms race, recollections of survivors of the bombings in Hiroshima, Nagasaki, and Hamburg, community psychodramas of possible disaster scenarios, and works by other artists. The film is monumental both in its critique and analysis and in its effort to inspire and occasion new ways of using information and the media.

Ronald Reagan as a man, as compared to his legacy, is rich territory for exploration, and a line from Shakespeare's Julius Caesar is just one of the many things that springs to mind after viewing filmmaker Eugene Jarecki's latest opus, Reagan (Jarecki's Why We Fight won the 2005 Sundance Film Festival Grand Jury Prize: Documentary). Speaking at his funeral, Mark Antony said of Caesar, "The evil that men do lives after them; the good is oft interred with their bones." With a firm grasp of Reagan's story, Jarecki avoids the predictable and takes the long view on Reagan's life and influence, while staying centered on him as a man of deep contradiction; an American whose patriotism paradoxically led him to impeachable acts, a liberal Democrat who came to define the modern conservative movement.