Da Ponte Pra Cá

Kolkata-based Sheela Bhowmik feels isolated and neglected, and decides to leave her busy film-maker husband, Raja, to spend sometime with her friend, Renu, her mom, and then subsequently travels to Kashmir to spend some time by herself. Raja gets involved in a new movie depicting the life of Gautam Buddh, and is on the look-out for a male child to play the character. He does find one, a young school-going lad, Abhirup Mitra; introduces him to the Producer, Vikram; as well as other crew including beautiful Anjali, who has a crush on Raja. Neither Vikram, Anjali nor any of the crew are aware that Raja is the prime suspect in the abduction of Abhirup.

Who, apart from moviegoers, knows Alice Guy (1873-1968) today? However, she was the first woman behind the camera and the first female director and producer of fiction films in history.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

A memory of Marilyn Monroe (1926-1962), woman, actress, goddess, myth, in the words of the Spanish director and scriptwriter José Luis Garci, who returns to his childhood and recovers a lost paradise.

Miguel and his uncle Kechus want to make a film about the vampire world.

Dickson Hughes and Richard Stapley, two young composers and romantic partners, are caught in the web of silent film star Gloria Swanson when she hires them to write a musical version of Sunset Boulevard, her 1950 film directed by Billy Wilder.

This is not merely another film about cinema history; it is a film about the love of cinema, a journey of discovery through over a century of German film history. Ten people working in film today remember their favourite films of yesteryear.

For just forty days, filmmaker and writer Mark Cousins embarks on a peculiar journey in order to explore topics as the passion for cinema and certain aspects related to making films as style, ideas, emotions and practicalities; an ambitious exploration of the universal language of cinema by analyzing pieces of work that cross every artistic and cultural boundaries.

French artist Maurice Chevalier (1888-1972), a legend of stage and screen, was an accomplished singer, actor and entertainer, who embodied the charm of his native Paris throughout a decades-long career that brought him fame in Europe and America and left for show business history a vast repertoire of masterful classic songs and captivating film performances.

A portrait of the actress and singer Pepa Flores, an incarnation of the recent history of Spain, who, in just twenty-five years of intense career, went from being Marisol, child prodigy of the Franco dictatorship, to being one of the first communist militants, icon of the Transition; an idol of the masses who became a discreet person after having claimed her right to remain silent.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.