A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion. They puncture the anyway indeterminate action of the film. Cinema tearing itself apart, driven by the expectation of a final ecstasy. Glass walls explode, furniture topples over. Tscherkassky puts his heroine under pressure, drives her to extremes. Time and time again she appears to hit out against the cinematic apparatus, until the images begin to stutter, are thrown off track...

John Defranco, a rookie deputy of a small-town sheriff's unit joins the force when a string of missing women erupts from neighboring counties. While patrolling the highways, he catches up with two beautiful city girls. Sherry and Tina feel safety in inviting John and his two colleagues, Sheriff Buck and fellow Deputy Willis to join them at the local camp grounds. Defranco finds evidence linking Willis and Buck to the string of missing women. Defranco discovers the courage to stand up to his partner, protect the fleeing women and rid society of this serial menace.

Once in the life (of drug dealing and organized crime), can anyone get out? During a brief jail stay, two half-brothers, who have rarely seen each other while growing up, connect. One of them, called 20/20 Mike because he can sense people nearby, concocts a scheme in which the two of them will steal some dope from young couriers. The heist goes awry when Billy, the junkie brother, shoots the victims of the theft. The brothers hole up in an abandoned building, and 20/20 Mike seeks help from an old cell mate, Tony, whom he thinks is out of the life. It turns out that they have stolen Tony's dope, and Tony's boss wants the two thieves dead. Is there any way out?

A teenager moves to Northern California with his newly-widowed father, is enrolled in Evergreen Academy and discovers that he is one of only three boys in a previously all-female school.

Can Santa's daughter turn naughty to nice and save Christmas?

Oliver has been confined at a private institution for many years, living naked in a padded cell with only a stainless steel slab for a bed. When he escapes he wreaks havoc on the institution and staff before being subdued with massive doses of tranquilizers. Now in a coma and requiring twenty-four-hour care, his family cannot afford the medical bills and he is brought home where at first everything is normal. His cousin, Jeff, takes an interest in nursing him and soon those around him start dying in horrible ways...

A no-budget collection of 14 short (5 min) films shot on video with one fixed camera shot. The directors have collaborated on several features before and here they create a series of shorts that mostly revolve around themes of embarrassment and bizarre situations.

The evolution of the cult science-fiction film from the original novel by Philip K Dick to the release of the director's cut version. Includes interviews with the director, cast and crew. With contributions from actors Rutger Hauer, Daryl Hannah, William Sanderson, Joe Turkel, M. Emmett Walsh, Joanna Cassidy and James Hong, and Brian Aldiss (science fiction author), Hampton Fancher (executive producer and screenwriter), Paul M. Sammon (author of 'Future Noir'), Michael Deeley (producer), Ridley Scott (director), David Peoples (screenwriter), Katherine Haber (production executive), Bud Yorkin (co-financier), David Snyder (art director), Lawrence G. Paull (production designer), Syd Mead (visual futurist), Douglas Trumbull, David Dryer and Richard Yuricich (special photographic effects supervisors), Michael Arick (film archivist who worked on the film's restoration), Terry Rawlings (supervising editor), and archival interview footage with author Philip K. Dick.

It is 14th century Yuan Dynasty China, the country is under Mongolian rule and the star-crossed lovers, Jinha and Sullie, illegitimate daughter of a Mongolian commander, are caught in the middle. When her mother died, SullieÕs father, Taruga, took her away and later planned to marry her off to form an alliance with a powerful Chinese warlord. Things get worse when Jinha learns that Taruga was the person who ordered the massacre of his entire family. Fuelled by hatred, he masters his family secret martial arts, the Bichun Secret Art. Many top pugilists, who are also after the secret scroll, try to kill him. During one of such attempts, Junkwang, a rich and powerful son of a Han lord, helps Jinha. But fate has it that Junkwang is the person that Sullie is forced to marry. When Junkwang knows about their love, he plots to have Jinha killed.

Michael Lynch is Dublin's most notorious criminal, his brazen robberies making him the bane of the Gardaí and a hero to his fellow working class city Northsiders. When not playing happy families with his two wives - sisters Christine and Lisa - and his children, Lynch is busy plotting elaborate heists, thinking as much about the showmanship of it all as he is the loot involved. On his case is Garda Noel Quigley, his determination to convict Lynch slowly turning into an obsession. Inevitably, a showdown looms.