Tropic of Cancer

Bosco Hogan plays Joyce's alter-ego, Stephen Daedelus, growing up in Ireland in the early part of the 20th century, and at odds with the strictures of his Catholic home and family. The film charts his search for knowledge and understanding, during a decline in his family's circumstances, that leads him to revelations on the nature of art, beauty and politics. However his personal renaissance makes him feel unwelcome in his own country, and forces him to make a choice between exile as artist or staying and facing personal defeat.

Muscle Beach was shown in competition at Cannes in 1949 and won a prize at the Edinburgh International Film Festival in 1951. The short became a cult favorite, screening at film clubs around the world. Strick used an army surplus movie camera to shoot the film during weekends in the fall of 1948. The songs in “Muscle Beach,” composed and sung by political folk singer Earl Robinson, with lyrics by screenwriter and poet Edwin Rolfe, accent the film’s three-movement structure as it transitions between soaring gymnastics shows, flirty beachgoers and children playing near the now-demolished pier at Ocean Park.

Dublin; June 16, 1904. Stephen Dedalus, who fancies himself as a poet, embarks on a day of wandering about the city during which he finds friendship and a father figure in Leopold Bloom, a middle-aged Jew. Meanwhile, Bloom's day, illuminated by a funeral and an evening of drinking and revelry that stirs paternal feelings toward Stephen, ends with a rapprochement with Molly, his earthy wife.

Shelley Winters is the madame of a house where customers play out their erotic fantasies, oblivious to a revolution which is sweeping the country. When her old friend, the chief of police (Peter Falk), asks her to impersonate the missing queen in order to reassure the people and halt the revolution, she offers instead three of her customers to play the general, bishop and chief justice, all of whom have died in the revolution.

A journey through the dark side of 1950s Los Angeles. "The Savage Eye" is largely composed of documentary street footage, which, when coupled with its dramatized material, takes the form of a hybrid narrative about a divorcee who escapes to L.A. to eviscerate her past -- and all notions of love and faith -- with a boozy, cynical abandon.

Gil and Hank are two independent truckers who run into problems when they are forced to pay off traffic managers to get loads. They also have to pay off highway cops when their rigs are overweight and bank loans but consider themselves lucky just to be able to keep up the interest payments. Add to that a small, frizzy-wigged highway hooker named Janice, who tempts them with her lurid charms.

Interviews with five former American soldiers who were present at the March 16, 1968 attack on the village of My Lai during the Vietnam War; they discuss the orders that were issued leading up to the attack, their expectations of what they would find there, and the subsequent massacre of the inhabitants and destruction of the village, as well as possible motivations for the killings and rapes which took place.

A picture of politicians under pressure, shot during the 1966 elections in Britain. The camera goes to meetings up and down the land, with an eye on angry audience excitement. The result, dramatically and cogently edited, suggests the heat, rather than the light of a campaign. It is crammed with offbeat observation and fascinating sidelights on the techniques of leading politicians in combating commotion

Marty (James Lipton) is a shipping clerk in the garment district and a wise guy trying to cut corners and get by on angles, and not very good at it. He meets Helen (Gaby Rodgers) and decides to change his ways, but lack of patience in slow-progress jobs leads him to become involved with a neighborhood gang.