Zack Norman

Maggie Chase, now a passionate theater actress, must follow her mind or heart when she falls for a slick television star.

An outrageous social comedy about a New York realtor who dreams of having political influence by taking over a new Polynesian nation.

'Terror of Frankenstein' is an exercise in extreme meta-fictional tragicomedy. Presented as the commentary track of a rushed reissue of a forgotten (but 100% genuine) Frankenstein film's DVD (because of unspecified 'recent events'), this project transforms the film into an entirely new, very human horror story. Featuring Clu Gulager as the director of the 1977 original who is happily exploiting the unmentioned tragedy linked to the film, the recording session unravels a mystery as he clashes with the screenwriter (Zack Brown) and, ultimately, its star (Leon Vitali from Stanley Kubrick's Eyes Wide Shut and Barry Lyndon, playing himself.) 'Terror of Frankenstein' is Mystery Science Theater 3000 by way of Sartre, an icy satire of the monsters onscreen, behind the camera, and in the audience.

The 'M' Word" explores the themes of "menopause, men and menses".

An electronic ankle bracelet and being under house arrest aren't about to stop up-and-coming actress Maggie Chase (Tanna Frederick) from the two things she craves the most: real fame and true love. With more "Google points" than her Iowa hometown, but far less than Angelina Jolie, Maggie is desperate to claw her way off the B-list of action/adventure pictures and into major movie stardom.

The tale of a young girl fresh off the bus from Iowa, who falls in love with a sexy and promising young actor, though their relationship threatens to complicate her own obsessive goal of becoming a famous actress. The film perfectly captures the delightful and desperate lives of those chasing dreams in Hollywood: One day they are shuffling down a boardwalk with too many suitcases, and the next they are lounging in contemporary hillside homes with a view of the city. Though neither state is permanent the more desirable one fuels the dream. The story's extraordinary execution portrays Hollywood as the fantastic and insane place that it is. Written by Lane Kneedler, American Film Institute Magazine

Cannes, 1999. Alice, an actress, wants to direct an indie picture. Kaz, a talkative (and maybe bogus) deal maker, promises $3 million if she'll use Millie, an aging French star. But, Rick, a big producer, needs Millie for a small part in a fall movie or he loses his star, Tom Hanks. Is Kaz for real? Can Rick sweet-talk Alice and sabotage Kaz to keep Millie from taking that deal? Millie consults with Victor, her ex, about which picture to make, Rick needs money, an ingenue named Blue is discovered, Kaz hits on Victor's new love, and Rick's factotum connects with Blue. Knives go in various backs. Wheels spin. Which deals - and pairings - will be consummated?

Jay is a young slacker who has to get a job in order to receive his inheritance. Rather than physically work, he fabricates an imaginary job in order to convince the attorney in charge of his trust fund.

Hailed by some as a cinematic genius, a feminist voice and a true maverick of American cinema, dismissed by others as a voyeuristic fraud and the "world's worst director," Henry Jaglom obsessively confuses and abuses the line between life and art. Featuring scores of interviews (including Orson Welles, Dennis Hopper, Milos Forman and Peter Bogdanovich) and rare behind-the-scenes footage, this hilarious documentary explores the fascinating question of Who Is Henry Jaglom?

Al McCord is hanging out at his favourite restaurant when he meets an attractive young woman (Ellie) who is looking for a ride from the city out into the Mojave Desert, where her mother lives. Little does he know that while Ellie is falling in love with him, he is falling for her mother (Julie), despite the nearby presence of Julie's boyfriend who seems likely to go berzerk at any moment. Even more strange, hilarious events follow and it's up to Al to find some explanation. His life may never again be the same.