Peter Lucas
On her 60th birthday, the proud owner of a Los Angeles strip club, finds herself in hot water over a twenty-five year old debt to the mob, leading her on a downward spiral of violence and revenge through the underbelly of Los Angeles.
WE GO ON tells the story of one man's quest to find out if there is more out there after we die. Paralyzed by his fear of dying, Miles Grissom offers a cash reward to the first person who can show him a ghost, an angel, a demon anything that can prove that we go on after our deaths. He narrows the responses down to three viable candidates a scientist, a medium, and a worldly entrepreneur. Along with his fiercely protective mother, he embarks on an adventure that will spiral into an unthinkable nightmare.
A vampire hunter in southern California discovers that his son has been murdered by a gang of the undead and thus goes on a quest for revenge.
An evil scientist creates a device that controls humans. With a press of the button, the subject will explode. A special forces team called "Total Force" must seek out and destroy the scientist and his lab. Later on in the film they are supported by terrorist Jack O'Hara, played by Frank Stallone. 'Comic relief' is provided by a corrupt senator, whose character is not at all funny.
A profile of fashion designer Geoffrey Beene, on his 30 years in the industry.
Against a set which has been designed in a Kafkaesque and claustrophobic way, Rybczynski has recreated a World of Kafka which corresponds well with Kafka's maze-like novels. It is an abstract and unpredictable world where Kafka himself moves between the scenes of his own stories, from America via The Castle to Metamorphosis, and The Trial is of course the frame story throughout. Rybczynski has chosen to portray Josef K as an alter ego. Other characters become members of his own family, which means that Rybczynski makes a kind of exemplary, depth psychological close reading of his work.
The film traces the cultural and environmental influences of a soil-dwelling, pathogenic fungus, Coccidioides immitis, and its associated disease, valley fever, in California's Central Valley. Interweaving past, present and mythological time, the film draws upon historical and cultural references, including the plight of migrants during the Depression, the spread of the disease in recent years, contemporary theories of climate change, and the significance of the desert wind in ancient Assyria. In Ruperto and Keagy’s film, natural phenomena remain neutral, fleeing from any kind of judgment and avoiding binary oppositions of positive and negative, destruction and regeneration, life and death.
