Global: A Surf Movie

Surfing from around the world without all the hype and gimmicks. Shot on location in Europe, the United States, Africa and Central America, Global showcases the best surfiing on the planet.

The Airblaster Movie

The Airblaster Movie features riding from, Jed Anderson, Nick Dirks, Travis Parker, Brandon Cocard, Ben Lynch, Eric Messier, Jonas Michilot, TJ Schneider, Austin Hironaka, Colleen Quigley and many more. It takes place during trips to Korea, Japan, Lake Tahoe and even North Carolina. It is an amazing video with a lot of fun. It has hammers, slams and laughs for the whole family. This is not the ultimate technical movie but rather one that makes you laugh and wanna go shred and enjoy a nice day.

Almost a Movie 1979

A young man meets up with his new stepmother, and his father is also supposed to join them for a holiday but never shows up. Suspicious of his step-mother, he then proceeds to keep her a prisoner in the villa as he forces her to reveal details of her hidden past.

Blue Movie 1970

Blue Movie was made for the international Dome Show where it was projected down onto the muslin surface of David Rimmer's geodesic dome. The audience lay on the floor looking up at it, the inside of each eye finishing the globe.

Brush The Movie

Brush” is the story of a young man named John Pennick (Black Deniro) who grows up in a tough neighborhood of violence, corruption, and drug dealing.

Inside: 21st Century Warship

The USS Freedom and USS Independence are the pioneering warships changing the face of battle on the sea with cutting edge design. Go inside the rigid testing that these ships must face to become part of the Navy. From a simulated high-speed attack to test the ships' guns and cannons to helicopter launches and technical failures, watch these ships attempt to achieve their mission objectives to ultimately be integrated into the U.S. Navy's Surface fleet.

Chicken Movie. Cluck! 1983

An urban poem, in which a chauffeur drives his Madam about in downtown Johannesburg; visits to friends, townships, wastelands. The trip ends with a nuptial-funeral ball where the men dance to the cock's crow and the rhythm of Zulu music. The film captures a certain Zeitgeist of the city of Johannesburg during the period of state of emergency in South Africa.

Passion & Poetry: Sam's Trucker Movie

For cineasts worldwide Sam Peckinpah is best known for his 1969 masterpiece The Wild Bunch, one of the best films ever made and a genuine American classic. Yet for the general 'mainstream' audience, the film everybody seems to know when the name Peckinpah is mentioned, is Convoy (1978). In fact Convoy was Peckinpah's biggest success at the box office, out-grossing even his 1972 hit The Getaway. But the entertaining actioner that had turned out to be a commercial winner and a public favorite in fact had a very troubled production history. Many viewers and fans probably will be astounished when they learn about the full story of Convoy, which is the subject of the new documentary Passion & Poetry - Sam's Trucker Movie.

The Violence Movie 1988

When a deranged killer (David E. Wilkinson) escapes from prison, he inexplicably invades the home of Joey Hammond (Joseph Shaugnessy) who must fight for his life in order to stay alive.

Hard Core Home Movie 1989

HARD-CORE is a frank and irreverent documentary that asks the question, "what is hard-core?" Seedy, grainy, and fast-paced, this is a nostalgic look at an ephemeral moment in the history of a subculture: punk rock in San Francisco in the late eighties. Everyone from fucked-up teenagers to elderly Mexican tourists attempts to explain the allure and mystique of the scene. Filmed at SF's historical petting-zoo/theater/punk rock emporium The Farm.

All the Mistakes I've Made, Part 2 (or: How Not To Watch A Movie)

Daniel Cockburn’s exuberantly cerebral, filmically deconstructionist work defies easy categorization, and this program of new work is no exception, from a short that interrogates “things that mean other things before becoming a thing that means other things in itself,” and a performance piece that juxtaposes two postmodern 1994 horror films, John Carpenter’s In the Mouth of Madness and Wes Craven’s New Nightmare to explore both the redemptive and destructive powers of storytelling.

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