A devil wearing bat-like wings and brandishing a trident dances around a giant pot, conjuring forth flame from his trident to lit a fire beneath the pot. After the devil works the fire with bellows, an angelic woman emerges from the pot. The devil and the pot vanish as the woman performs a dance, waving about her diaphanous sleeves until she conjures forth another fire, then she rises amongst the smoke into the air.

Highland Sunset and a final look at Class 37s on the West Highland Line to Fort William before the introduction of Class 66s. Crewe Open Weekend with a tour of Crewe Works during the open weekend of the 20th and 21st of May with a variety of traction plus coverage of specials to the event with 33 and 37 hauage. Class 58 Profile with only half of the original class still in action we take a look at the class from the 1980s to the present day. Devon Contrasts and Class 67 and 47 motive power along the famous stretch of sea wall from Starcross to Dawlish.

Four friends head off to Bombay and get involved in the mother and father of all gang wars.

In the year 2035, survivors of a now almost completely evacuated post-apocalyptic Britain compete for a government bounty to retrieve a mysterious bio weapon known only as Unit Eleven.

A self-portrait documentary of Dusan Makavejev who travels to former Yugoslavia, and charts the changes of the society which parallels to his own life.

Moving into a new apartment might seem like a good idea at first, but as Daniel is about to find out, it is not always the case.

We are in the Gargano, where the Sunday dish is the “maccaruni” seasoned with pieces of meat, and for the rest of the week you have to settle for the pancotto made from stale bread with chicory, fava beans and potatoes (a poor dish that today sometimes passes for refined delicacy).

Following an inappropriate remark towards a woman, a young man finds himself plunged into a parallel world where he will endure a series of remarks and micro-attacks usually reserved for women.

A Russian dance company agrees to stage the new ballet written by a vaudeville hoofer.

A vampire named Bathor turned an entire village to vampires, stuck around long enough to teach them to survive, and then promised to return in 2000 years after conquering the rest of the continent. The only problem with this plan is that the vampires, although immortal, have only a limited capacity for memory. As time passes, they forget their utopian society and led by the totalitarian zealot Grando, become paranoid, superstitious fundamentalists, splitting their society by race and gender lines, seeking to destroy those who are deemed sinful. Long-forgotten lovers Élisabeth and Fantine find that, with the help of those who were banished in the past, it is their fate to piece together the past and help preserve the little that remains before Bathor’s impending return.

A radical hybrid of spy, sci-fi, Western, and even horror genres, Craig Baldwin's Mock Up On Mu cobbles together a feature-length "collage-narrative" based on (mostly) true stories of California's post-War sub-cultures of rocket pioneers, alternative religions, and Beat lifestyles. Pulp-serial snippets, industrial-film imagery, and B- (and Z-) fiction clips are intercut with newly shot live-action material, powering a playful, allegorical trajectory through the now-mythic occult matrix of Jack Parsons (Crowleyite founder of the Jet Propulsion Lab), L.Ron Hubbard (sci-fi author turned cult-leader), and Marjorie Cameron (bohemian artist and "mother of the New Age movement"). Their intertwined tales spin out into a speculative farce on the militarization of space, and the corporate take-over of spiritual fulfillment and leisure-time.

Prizefighter Jimmy Nolan, facing an opportunity to get a championship fight, is knocked out when he sustains what is apparently a permanent injury to his arm. From there, Nolan's path leads downhill. He is drawn into a romance with a nightclub entertainer, then is framed on a theft charge by a jealous suitor. After his prison term, Nolan makes a spectacular comeback in a fight which proves his courage and integrity, while disproving the fallacy about the old sports adage that "they never come back."

Tai-bao is the reincarnation of the Devil Star and A-queen is the one fated to take on his sins. It becomes clear that as the two try to escape the criminal underworld, an abusive father, who wants to take Tai-bao back to the temple, is using them to take the blame for other people's sin.