A small British army team is sent deep behind enemy lines to destroy a German petrol dump as part of the preparation for a major attack in the North African campaign. Sea of Sand was distributed in the US in a shortened version, Desert Patrol.

A cocky guy joins the Navy for the wrong reason but finds romance and twice is cited for heroism.

This telefilm is based on "Chorer Master Computer Engineer" by Rahitul Islam. A fresh engineer graduate from Tangail decides to leave his girlfriend, career and metropolitan life behind to teach students and farmers in his home village.

A 17-year-old girl faces a life with an adverse perspective, where her social life, her experiences, her happiness and emotional stability only depend on a thread that is too damaged.

This short film is adapted from Madame d'Aulnoy's clasic fairy tale, The White Cat. The White Cat was originally planned as a feature film musical which Anna Biller worked on over a period of a couple of years, creating an original soundtrack, over a hundred costumes, many props, and a children's book. Eventually, realizing it was a bit unconventional and expensive to raise the proper funding for, she instead adapted it for the stage with a cast of eight performers, and called the new version The Lady Cat. The film and play were trying to capture the complex nature of the character of the White Cat, an enchanted princess who has been transformed into a cat, with all of the perversions and fancies that such a transformation implies. This particular scene is about the sexual feelings that are awakened in the two lovers when they witness the awakening of spring.

Endless is about one's eternal suffering, coming in the form of immortality. This leads to the multiple suicide attempts with no success.

Owners of stars

Residences, churches, funeral march, school children in Muskogee, OK; Taft, OK; and Okmulgee, OK.

"Hairspray"'s journey from screen to stage to screen.

An unorthodox doctor makes a house call to the Acapulco abode of a mushroom addict.

Radio announcer Petrícek reads the evening news in a studio. Viki, the female editor of a woman's program, is annoyed by the stereotypical information he provides as well as by the speaker's melodious voice and his heart-felt performance. Then she gets an idea for a prank. She calls the speaker from the neighboring room on the phone and pretends to be an unhappily married woman who draws all her strength to live from Petrícek's voice.

Irina Evteeva’s debut quickly became a kind of manifesto for the one-room experimental studio: it defines classification by interweaving animation, appropriated footage, feature and documentary to form a unique whole, a film that rushes backwards into the future, thereby re-inventing Futurism. Mayakovskiy is the star; his occasional presence holds together a film driven by the sound, the beat, of his poetry. Evteeva develops a dramatic structure of flaring, fading, being from light: violin strings become rays, quivering dull yellow spots, pictures. The plot assails the material from which it derives energy from material. History, growling and roaring, finds its form.

A criminal gang sets out to pull off the heist of a large army payroll.

Breaking real time coverage of Chinese spy apparatus by intrepid cyber reporter Beardson Beardly.