Tim Sutton's debut feature, likened to films by Gus Van Sant and Pedro Costa, follows a laconic teenager (Max) who moves from an idyllic lakeside town to his father's home in arid suburban Arizona. With mesmerizing imagery of hot summer bike rides and cool lake-bound dives, Pavilion captures the ephemerality and reverie of youth and the fragility of adolescent friendships. A haunting score by the Sea and Cake's Sam Prekop shadows the storyline, echoing its secrets and shouldering its mysteries.

The fifth film in the Mutual series, The Count, further develops the situations of films in which Charlie impersonates a man of means in order to underscore the contrast between rich and poor-one of his favorite themes.

The Cure, the tenth film in the series, is perhaps the funniest of the Mutuals. It was partly inspired in its setting by the Fred Karno sketch, The Hydro, which was set in a hydrotherapy clinic.

Chaplin's eighth film for Mutual, The Rink, is one of his most popular comedies. Charlie is an inept waiter who prepares the bill of Mr. Stout (Eric Campbell) by examining the soup, spaghetti, melon stains and other remnants on the sloppy eater's shirt front, tie, and ear.

The most popular of the Mutuals, The Adventurer begins and ends with a chase. It is the fastest-paced film of the series, and although it has more slapstick than Easy Street and The Immigrant, it is redeemed by its construction, characterization, and Chaplin's balletic grace.

The Immigrant, which contains elements of satire, irony, and romance as well as cinematic poetry, endures in the twenty-first century as a comic masterpiece. The film, Chaplin's eleventh in the Mutual series, is the best-constructed of his two-reelers and was Chaplin's favorite among all his two-reel comedies

The Vagabond, Chaplin's third Mutual film, was an important step in Chaplin's career, in which he interweaves pathos as an integral part of the comedy. He imposed an unlikely happy ending on The Vagabond, in which the gypsy drudge demands that the car she is being taken away be turned around to bring Charlie along with her.

In the sixth Mutual film, Charlie is a pawnbroker's assistant in a pawnshop that evokes the London of Chaplin's childhood. The film is rich in comic transposition, a key element to Chaplin's genius. The apex of such work in the Mutuals is the celebrated scene in The Pawnshop in which Charlie examines an alarm clock brought in by a customer.

Easy Street, his ninth film for Mutual and the most famous of the twelve, Chaplin ordered the first of the T-shaped street sets to be built that he would consistently utilize to provide a perfect backdrop to his comedy. The look and feel of Easy Street evoke the South London of his childhood (the name "Easy Street"suggests "East Street,"the street of Chaplin's birthplace).

A refinement of his earlier comedies set in a film studio, Behind the Screen, Chaplin's seventh film for Mutual, lampoons the unmotivated slapstick of the kind Chaplin disliked when he worked for Mack Sennett. Chaplin made the film as a sort of parody of the knockabout, pie-throwing comedy of the Keystone films.

In Chaplin's second effort for Mutual, he portrays an inept firefighter at Fire Station 23. Charlie, still asleep, mistakes a drill bell for a fire alarm and single-handedly drives out the horse-drawn fire engine. When he discovers his error, he simply backs up the engine into the fire station, with horses galloping backward (an early instance of camera tricks-cameramen Foster and Totheroh skillfully cranked the cameras in reverse and Chaplin staged the action backward).

In the comedies Charlie Chaplin created for the Mutual Film Corporation, Chaplin sometimes played an inebriate, a fireman, or a prop man in a movie studio; but most of all, he further explored and developed his celebrated Little Tramp character that would soon join Falstaff and Don Quixote in the pantheon of immortal comic characters.