Story of the band NOFX. Chronicles how they met each other, achieved popularity and success, then completed a unique, triumphant farewell tour in 2024, following decades of struggle with health problems and internal conflicts.

Odessa - 1905. Enraged with the deplorable conditions on board the armored cruiser Potemkin, the ship's loyal crew contemplates the unthinkable - mutiny. Seizing control of the Potemkin and raising the red flag of revolution, the sailors' revolt becomes the rallying point for a Russian populace ground under the boot heels of the Czar's Cossacks. When ruthless White Russian cavalry arrives to crush the rebellion on the sandstone Odessa Steps, the most famous and most quoted film sequence in cinema history is born. For eight decades, Sergei Eisenstein's 1925 masterpiece has remained the most influential silent film of all time. Yet each successive generation has seen BATTLESHIP POTEMKIN subjected to censorship and recutting, its unforgettable power diluted in unauthorized public domain editions from dubious sources. Until now. Kino is proud to join the Deutsche Kinematek in association with Russia's Goskinofilm, the British Film Institute, Bundesfilm Archive Berlin, and the Munich Film Museum in presenting this all new restoration of BATTLESHIP POTEMKIN. Dozens of missing shots have been replaced, and all 146 title cards restored to Eisenstein's specifications. Edmund Meisel's definitive 1926 score, magnificently rendered by the 55-piece Deutches Filmorchestra in 5.1 Stereo Surround, returns Eisenstein's masterwork to a form as close to its creator's bold vision as has been seen since the film's triumphant 1925 Moscow premiere.

Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen's legendary film uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages suffered the same hysteria as turn-of-the-century psychiatric patients. But the film itself is far from serious-- instead it's a witches' brew of the scary, gross, and darkly humorous.

A man travels around a city with a camera slung over his shoulder, documenting urban life with dazzling invention.

During an outbreak of a deadly plague, a mystical woman must save her tight-knit Jewish community from foreign invaders, but the entity she conjures to protect them is a far greater evil.

Filmmaker Rustin Thompson journeys into the American West on a search for traces of what was once a center of small-town life: the movie theater. On the trip, he finds long abandoned and forgotten cinemas; movie houses that have fallen into disrepair; theaters recently closed, theaters struggling to hold on, and theaters that—thanks to their thoughtful caretakers—are not only surviving but thriving. Between the stops along the way, Rustin poetically intersperses excerpts from Peter Bogdanovich’s 1971 classic film The Last Picture Show, as well as reflections on past and present hardships facing the film exhibition industry. The Last Picture Shows is not only a timely portrait of an industry in crisis, one facing the headwinds of consolidation, streaming, and the diminishing theatrical experience, but it also reminds viewers that even in vast cinema deserts, there are oases of community and gathering that remain, where the movie house continues to be a place of wonder, contemplation, and connection.

A serial killer known as "The Avenger" is on the loose in London, murdering blonde women. A mysterious man arrives at the house of Mr. and Mrs. Bunting looking for a room to rent. The Bunting's daughter is a blonde model and is seeing one of the detectives assigned to the case. The detective becomes jealous of the lodger and begins to suspect he may be the avenger.

It's New Year's Eve. Three drunkards evoke a legend. The legend tells that the last person to die in a year if he is a great sinner, will have to drive during the whole year the Phantom Chariot, the one that picks up the souls of the dead... David Holm, one of the three drunkards, dies at the last stroke of midnight..

Alonzo is an armless knife thrower and gun shooter for a circus---or so he appears. He is actually a criminal with his arms intact. He and his accomplice, Cojo (a little person), are hiding from the police. Alonzo views his disguise as perfect, especially since it keeps from view an unusual deformity of his left hand that would immediately give him away as the criminal the police are searching for. Nanon, the daughter of Zanzi, the circus owner, is the target in his act. Although Alonzo is in love with her, Nanon's father despises him. Malabar, the circus strong man, is attracted to Nanon but she is repulsed by his uninhibited sexual advances and desire to touch and hold her. Her phobia extends to the touch of any man's hand. Alonzo feeds her fears in the hopes that Nanon will fall in love with him since he is "armless." Because Zanzi discovers Alonzo really has arms, Alonzo kills him, but Nanon witnesses the killing without seeing Alonzo's face; however, she does see the telltale ...