A former safe-breaker, a former yakuza , and another young "Toshiro" Ryo (Aikawa) are planning to attack a casino run by a large organization. The three get a lot of money , but Ryo betrays his companions because he wants a runaway fund with the mistress of the group leader .

The story of a quirky love affair between Angi, an independent, no-nonsense social worker from a working-class district of Budapest and, Ildikó, a young mother who recently separated from her husband.

Film reel and its material qualities are inseparable from an image it carries. Polarity between the physical marks on celluloid and the photographic image that it supports was an inspiration to create a stereoscopic sculptural illusion, titled Stains and Scratches.

A home healthcare worker steals her dementia patient’s winning scratch-off lottery ticket.

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BOBBY'S WORLD, featuring the voice talents of Howie Mandel and Edie McClurg, follows young, animated Bobby as he and his family encounter endless adventures and mishaps. Bobby's vivid imagination appeals to all ages, as do the comic situations found in the all-American, suburban lifestyle that the show explores.

Filmed live at Concorde 2 in Brighton, England, this 2002 concert spotlights influential Jamaican reggae artist Lee "Scratch" Perry performing in front of an enthusiastic audience. Songs include "I Am a Madman," "Station Underground News," "French Connection," "Jungle Lion," "People Funny Boy," "Tighten Up," "Doctor Dick," "Rub and Squeeze" and "The Thanks We Get." Additional features include an interview with Perry, rehearsal footage and more.

Bob and his Can-Do Crew take on some of his biggest jobs yet! Help the crew build a new athletic field, learn the importance of following instructions, and see how working together is always a blueprint for success. See why having fun is getting it done.

At the end of 2016, some circonstances made that after a gap of 15 years I resumed scratching directly on film. I first made a series of thirty one short loops that were posted as GIF’s on Facebook, in May and June 2016. Then I proceeded to build a film out of those segments with the support of the infinite music of Malcolm Goldstein. The result is a meditation on time, both radically abstract and intensely material.

The film consists of five different versions of the same scene.

Recounts the impact of migrants on the African Methodist Episcopal church. Philadelphia’s Mother Bethel AME, the nation’s oldest African-American church, served as a local community partner, as well as Mother Emmanuel Church in Charleston, SC, the site of the 2015 mass shooting.

This is an indelible artifact of the Budapest Orpheum Society, a popular and often scandalous Jewishbohemian cabaret group that thrived in Vienna from 1889 to 1919 and produced at least two comic geniuses: actor Hans Moser and songwriter Armin Berg. Led by Josef Fleischmann in the role of “Sammy Storklegs,” members of the group perform a working-class farce about two dentist’s daughters, a Lonely Hearts ad, and two male friendly rivals roving through Vienna in search of a bride.

This documentary is set at Lee Perry's mountain top home and studio in Switzerland and features some of the actual sessions for the original studio recording of "Revelation". It focuses on Lee's work in collaboration with multi-instrumentalist Steve Marshall in both his engineering and his producer ("John Saxon") roles.

The Upsetter tells the fascinating story of Lee Scratch Perry a visionary musician and artist from poor rural Jamaica who journeyed to the big city of Kingston in the late 1950’s with dreams of making it in the burgeoning record industry. He burst upon the scene with a brand new sound, inventing a genre of music that would come to be called Reggae, discovering a young Bob Marley and gaining international recognition as a record producer and solo artist. Soon he was being called upon by artists as diverse as The Clash and Paul McCartney to provide his unique sound.

By using television images as its raw material, Scratch positioned itself, and video more generally, as the medium for a more dynamic, more interactive mode of image-consumption, and even a more networked mode of viewership—as the group Gorilla Tapes later put it, Scratch was a way of “talk[ing] back to television.” Enabled by the development of innovative professional and consumer video technologies, artists like Gorilla Tapes, George Barber, and Sandra Goldbacher and Kim Flitcroft deployed a style characterized by the rapid sampling, editing, and manipulation of dissociated images drawn from video archives and broadcast television. Exploiting this newly available battery of tools, Scratch Video artists warped, composited, windowed, posterized, keyed, colorized, and superimposed these images, exploring uncharted aesthetic terrain that in many ways anticipates, and has strongly influenced, the types of image-manipulation made possible by today’s digital image software.