Kino International Corporation.

A film about Sigmund Freud. Originally made for Austrian television.

Cop Au vin is a classic Claude Chabrol thriller set in the belly of a small town full of dark plots, delicious secrets, and multiple murders.

A romantic comedy about three young, working-class, country girls, who go to Moscow in 1958 to seek work, men, and success. The story then jumps forward twenty years to look at the results of their expedition.

Keaton sets out to single-handedly win the war with the help of his cherished locomotive, The general. In the playhouse, a technical tour-de-force, Keaton portrays every member of a stage company, the entire audience and an undisciplined chimp to boot. Cops is the quintessential chase film.

American humorist Jules Feiffer and French director Alain Resnais are oddly paired for this satirical comedy about an American cartoonist in Paris. Adolph Green is a stunner as Joey Wellman, a cantankerous American cartoonist traveling abroad for the first time. In tow is Lena Apthrop (Linda Lavin), and the two are ostensibly journeying to Paris to attend a comic-strip exhibition in which Wellman's work is included. But it turns out the exhibition...

Four separate stories are interwoven: the fall of Babylon, the death of Christ, the massacre of the Huguenots and a contemporary drama, all crosscut and building with enormous energy to a thrilling chase and finale.

A documentary that takes the viewer into the land of the deaf, a world of silence inhabited by an estimated 130 million people worldwide. The filmmaker portrays the difficulties and joys of being deaf, offering portraits of a charismatic sign language teacher, a woman forced into a mental ward as a teen, a young man who remembers the first horrifying experience of using a hearing aid, and a deaf couple's marriage.

Using hours of audio-only taped interviews, learn about this normally reclusive star, from her childhood to her marriage, collaborators, life, death, and the Holocaust.

At the heart of this film is the question of whether Leni Riefenstahl was a Nazi, as her detractors claim, or whether she was the victim of society-- a naive, young woman who made Triumph des Willens on assignment, and simply did a very good job. This film does not judge, and Riefenstahl (a fiesty 90 during production) is genuine in her protest. Or has the passage of 50-plus years simply rewritten history in her mind? Viewers must judge for themselves....