Oscar night. The crowd cheers Frankie Fane for the top award. Not far from him, sits the actor's best friend who knows that fame has been achieved by cynical manipulation of past events. Frankie deliberately leaked true stories about his disreputable life on the basis that they were falsehoods spread by his opponents. He hopes that the subsequent wave of public sympathy will sweep him to the Oscar... Nominated for Best Art Direction and Best Costume Design at the **Academy Awards**.

A family gets lost on the road and stumbles upon a hidden, underground, devil-worshiping cult led by the fearsome Master and his servant Torgo.

WHO'S CRAZY? was long thought to be lost by jazz-on-film scholars and the Library of Congress. In early 2015, the only surviving copy of the film, a 35mm print struck for the film's debut at Cannes in 1966, was salvaged from director Thomas White's garage after sitting on a shelf there for decades. Ornette's soundtrack exists as a hard-to-find LP, but audiences have never before had the opportunity to see what Ornette saw when he composed it. The cast consists of actors from New York's experimental theater troupe, the Living Theatre, who also performed in Shirley Clarke's THE CONNECTION; and speaking of connections, Clarke would later direct the fantastic ORNETTE: MADE IN AMERICA (1984). The 35mm print of WHO'S CRAZY? was repaired by John Klacsmann, archivist at Anthology Film Archives.

Adam, a brilliant trumpet player, is burdened with guilt following a car accident in which his wife and child were killed. He finds happiness briefly with another woman but turns to drink and is wrongly convicted as a drug-addict when arrested after a drunken brawl. Desperate for money, his agent books him a series of one-night stands and one night, while playing a farewell number with the band, Adam collapses. The audience believe him to be drunk but in fact it is his final curtain.

After Edward's wealthy wife, Jessica, dies in a mysterious fire, he marries Francene, the governess of his daughter Susan. Francene is interested in one thing: money. Wasting no time in spending Edward's inheritance, she turns her attention to Susan: if Susan and Edward were both to die, the money would pass to Anthony, Edward's cousin and Francene's former lover. Francene and Anthony work out a plot and decide to drive Susan mad...

Berlin in the 1960s. Olaf (Dieter Mann) and Horst (Kaspar Eichel) are two young metalworkers, who provoke their older colleagues with critiques of the antiquated equipment and lack of materials ... not to mention their love of leather jackets and motorbikes. Olaf and Horst begin to be targeted in the house newsletter, and the generational conflict escalates.. This film is the fourth in the Berlin Film Series by the Klein/Kohlhaase team. In 1966, officials banned the rough cut in the aftermath of the SED Party's 11th Plenum, condemning the film as "dishonest and anti-socialist." As of 1987, the rough-cut version was shown in arthouse screenings only. Scriptwriter Wolfgang Kohlhaase and editor Evelyn Carow revisited the available material after the fall of the Berlin Wall and produced an abridged version that premiered in 1990. This DVD presents the new digitally restored transfer of the 1990 version of the film..

Nine-year-old Adam lives alone with his father while his mother studies out of town. He is a clever boy with an active imagination. One day, a grateful swan gives him a magic flashlight. When its rays shine on someone who is lying, the person floats up into the air! Adam and his father decide to produce more of these flashlights, but no one is interested in buying them, least of all the politicians.. Before Gunther's comedy was canceled during production in February 1966 and also partially destroyed afterwards, officials had already censored the film script. When restorers later worked on the film's release after the fall of the Wall in 1989, they discovered that passages of the dialog-presumably found as being too subversive-had been removed from the soundtrack. Instead of hiding this aggressive form of censorship, they decided to mark these passages with inserts..

The enchanting world of Hans Christian Andersen comes to life in a world of animation combined with live action. Young Andersen falls asleep and in his dreams of his childhood in a Danish village, we meet, little by little, his family, his friends and the characters who appear in his most famous fairy tales.

Paulo Rocha's haunting second feature, CHANGE OF LIFE, is a beautifully-told story of a young man who returns from abroad to his small fishing village to discover that much has changed. Inspired by his work with Manoel de Oliveira, Rocha "cast" the local villagers as themselves, interspersed with experienced actors led by the great Isabel Ruth who would go on to become an Oliveira regular and an iconic presence in Pedro Costa's Ossos. The poetry of the local vernacular is captured in the textured dialogue written by fellow Portuguese filmmaker Antonio Reis, who met Rocha through Oliveira. The film was a critical and commercial success upon release, though it would effectively be the last film Rocha made for nearly two decades.

Mark Rappaport's first film commences with Gerald Mur "studying the cinema" in the form of a blow-up glamor shot of Garbo. Then "the cinema" studies Gerald (from numerous angles) followed by a standoff as filmmaker and subject circle one another, dueling with cameras to determine who's watcher and who's watched.. Gerald's philosophical soundtrack musings ("People don't ask for beauty, they'll settle for less ugliness," "To live together destroys integrity") suggest a preference for the abstract over the intimate that's borne out when our protagonist finds a romantic interest (Teresa O'Connor). Yet in this chaptered black-and-white meditation on art and life, it's possible "true love" (should it exist outside the movies) might win out for the first and possibly the last time in this unique American independent oeuvre.. "A portrait film of a gawkily handsome man-contrasted with Garbo in the first shot, completely excised by the end, his spirit lingering in the melancholy that remains. The first Rappaport movie I've seen. Kind of like meeting someone who you hit it off with, but you feel somewhat cautious about because you're not quite sure why the rapport is working. Perhaps it's the price of being confronted with a wholly unique perspective-you're shaken so completely to the core that distrust bubbles up. Who is this person who's doing something in none of the ways I'm used to?" -Keith Uhlich

Nobel Prize-winning playwright Samuel Beckett's lone work for projected cinema was entitled archetypally, Film, and grew from Berkeley's pronouncement, essi et percipi: "To be is to be perceived." Yet Beckett's ontological concerns have less to do with the plastic medium than the nature of recorded and projected images. Film is, in essence, a chase film; arguably the craziest committed to celluloid. It's a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies. The link to cinema's essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider's imperative that he keep his face hidden from the camera's gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflective masterpiece Man With a Movie Camera (with the latter in the titular role). Commissioned and produced by Grove Press's Barney Rosset, Film is at once the product of a stunningly all-star assembly of talent and a cinematic conundrum that asks more questions than it answers.

Alfred and Lisa decide to divorce after only a couple of months of marriage. Alfred takes a few days off to clear his head, riding through Berlin and meeting strangers; although he ultimately returns to Lisa, but the ending remains open. In East Germany's closest counterpart to early Godard, Jürgen Böttcher grasps the life of 20-year-olds in Prenzlauer Berg with social and regional exactness and translates it into a universal language. Born in '45 was caught in a wave of politically-motivated censorship in the summer of 1966. The film was described by an official as "indifferent and insignificant;" Böttcher, he wrote, chose settings that were "gloomy, unfriendly, dirty and neglected. Characters and surroundings were created to reflect more of a capitalist than a socialist view of life." After Born in '45 was banned, Böttcher never made another feature film. Only when the film was shown in cinemas in the spring of 1990 were the true beauties of the film discovered: its rhythm, its lacunae, and its dispositions.