Tom subjects Jerry to his usual harassment; but the cat finds a new enemy, and the mouse finds a new friend, in the canary of the house.
Butch convinces Tom and Jerry that there's no reason to fight and they should all sign a peace treaty. Tom and Butch even rescue their pals from a fellow cat and dog. But then a steak falls off a truck and the boys can't decide how to divvy it up, ultimately losing it completely, and the truce is off.
It's spring, and Tom is much more interested in the female cat next door than in Jerry.
Mammy Two-Shoes tells Tom and Butch that the cat who gets rid of the icebox-raiding, breadbox-invading mouse (Jerry) is the one who can stay.
An autobiographical documentary made by a mother who follows the gender transition of her adolescent son: between 2016 and 2019 she interviews him addressing the conflicts, certainties and uncertainties that pervade him in a deep search for his identity. At the same time, the mother, revealed through a firstperson narration and by her voice behind the camera that talks to her son, also goes through a process of transformation required by the situation that life presents her with by breaking old paradigms, facing fears and dismantling prejudices.
Filmed April 12, 2003 at a benefit concert held at and for The Anthology Film Archives, the international center for the preservation, study, and exhibition of avant-garde and independent cinema. In addition to screening films for the public, AFA houses a film museum, research library and art gallery. The event, which raised money for the Archives and celebrated the life and work of avant-garde film maker Stan Brakhage, featured Sonic Youth providing an improvised instrumental collaboration with silent Brakhage’s films. The band performed with drummer/percussionist Tim Barnes (Essex Green, Jukeboxer, Silver Jews).
On the violent border between Brazil and Paraguay, a war is being waged around the expansion of agribusiness. On one side sits lawyer Luana Ruiz, the heiress to contested lands and one of the strongest supporters of president Jair Bolsonaro. Ruiz, like other ruralistas—rural wealthy elites and agribusiness producers who advocate for Indigenous cultural annihilation—has become empowered and her ideas of hate have flourished under Bolsonaro's anti-Indigenous agenda. On the other side sits teacher, Guarani-Kaiowá leader and activist Alenir Ximendes, embodying powerful Indigenous resistance and communal ideals. Having personally suffered losses at the hands of the ruralistas, Ximendes emerges as a powerful force against Ruiz, fighting for the protection of her community, their lands and Indigenous constitutional rights. This film contains sensitive images and dialogue in its portrayal of this urgent struggle for sovereignty.
A painter's life is changed forever when a mythical and deadly spirit from Celtic lore becomes his muse and lover.
They say the real estate business is deadly, but no one is more surprised than Hannah Swensen when her mother, Delores, discovers the dead body of the homeowner – and regular customer of The Cookie Jar – while house-hunting for her sister Michelle. Hannah is determined to get to the bottom of the mystery and is convinced that the prime suspect Mike and the Sheriff are focusing on isn't the culprit. Hannah's sleuthing becomes a family affair when Delores, Michelle and even her sister Andrea – who pays an unexpected visit – take part in the investigation. As Hannah uncovers clues she slowly rules out suspects and is led to the shocking truth about the killer's identity.
This is a story about a city guy Nikolai, who will have to go instead of his friend on a rural business trip. A series of funny events, meetings and the beauty of the Yakut village encourage Nikolai to make an important decision in his life…
Reunited with the mother she never knew, Mandie Shaw (Lexi Johnson) finally has the family she always dreamed of, until Uncle John threatens to tear it all apart to keep an old promise. After he forbids Mandie from joining his quest, Mandie and her friends embark on a harrowing journey by train to protect Uncle John. Grand adventure ensues as they struggle to solve riddles and dare to face the secrets of the Lost Antler Cave Mine. Bases on the series by Lois Leppard, this sequel to Mandie and the Secret Tunnel includes a special appearance by Hayley Mills.
This film is a mix of landscape images seen from train windows and the patterned shapes and shifting tones of moving-visual-thought thus prompted; it was inspired by Robert Breer's FUJI.
This musical version of the tale of the boy who wouldn't grow up aired live on television on March 7, 1955. It was so popular that it was restaged the following year, and again four years later.
John is a young Journalism student, he worked for years in a telemarketing service untill the burnout crisis. Now he wants to suit the enterprise for harassment at work, back and mental problems.
"Linked together by the texturality of forgotten objects and frayed (or physically manipulated) imprinted text images, the film represents a thematic collapsing of distinct objects that further erases the bounds between image (and text) from meaning, where recursive shifting of once seemingly separate entities become alternate presentations of a visible (and invisible) continuum - a decontextualized mood piece where absence and emptiness become increasingly tactile - an impression."
In an English village, a reporter and a mechanic listen to a ratcatcher explain his clever plan to outwit his prey.
On his journey towards becoming a film director, Cole discovers an insight that flips his perspective on his way of living.
One dark and stormy night, Rupert is called on by a mysterious stranger who gives him a ship in a bottle...with a tiny living man onboard! He frees the man, who turns out to be the evil warlock, Mordo, who kidnaps Amelia and takes her back in time to 1640. Rupert calls on Miss Switch for help in this new adventure.
Popeye delivers his precious and needed cargo of spinach to Britain, despite the efforts of a Nazi submarine to sink his ship.
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