Between the international triumphs of La strada and Nights of Cabiria, Federico Fellini made this fascinatingly unique film, which has been long overlooked. Largely eschewing the poetic flourishes of the more famous works that bookend it, Il bidone is a dark neorealist crime drama starring a commanding Broderick Crawford as one of the most complex characters in the director’s canon: an aging con man who, having made a career preying on the desperation of poor peasants, suddenly finds that his crooked ways have begun to catch up with him. Masterfully entwining the story’s human grit with elements of humor and pathos, Fellini crafts a searing portrait of a man reckoning with the consequences of his life’s choices that hits with the force of a profound moral tragedy.

This vividly stylized, broodingly intense early Mexican sound melodrama by Juan Bustillo Oro hinges on an audacious flashback structure. When an ailing monk recognizes a new brother at his cloister, he becomes deranged and attacks him. Dos monjes recounts the men’s tragic shared past once from the point of view of each, heightening the contrasts between the two accounts with visual flourishes drawn from the language of German expressionism, including camera work by avant-garde photographer Agustín Jiménez.

Set in the 1950s Italian countryside, the film tells the story of Lola and Masetto, a young couple whose views on premarital sex differ drastically.

Federico Fellini’s second outing as a solo director yielded his first commercial success, a clear-eyed portrait of five young men lingering in a postadolescent limbo, dreaming of adventure and escape from their small coastal town. Drawing on memories tucked between the childhood nostalgia of Amarcord and the big-city hangover of La dolce vita, Fellini crafts a semiautobiographical masterpiece of sharply drawn character sketches: of skirt-chasing Fausto, forced to marry a girl he has impregnated; Alberto, the perpetual child; Leopoldo, a writer thirsting for fame; and Moraldo, the conscience of the group. An Oscar nominee for best original screenplay, I vitelloni captures the lassitude and longing of its protagonists with comic insight and compassion.

A raw Welsh novelist in Venice is humiliated by a money-loving Frenchwoman who erotically ensnares him.

A wax museum hires a writer to give the sculptures stories. The writer imagines himself and the museum owner's daughter in the stories.

On April 30, 1971, a standing-room-only crowd of New York’s intellectual elite packed the city’s Town Hall theater to see Norman Mailer—fresh from the controversy over his essay “The Prisoner of Sex” and the backlash it received from leaders of the women’s movement—tangle with a panel of four prominent female thinkers and activists: Jacqueline Ceballos, Germaine Greer, Jill Johnston, and Diana Trilling. Part intellectual death match, part three-ring circus, the proceedings were captured with crackling, fly-on-the-wall immediacy by the documentary great D. A. Pennebaker and a small crew, with Chris Hegedus later condensing the three-and-a-half-hour affair into this briskly entertaining snapshot of a singular cultural moment. Heady, heated, and hilarious, Town Bloody Hall is a dazzling display of feminist firepower courtesy of some of the most influential figures of the era, with Mailer plainly relishing his role as the pugnacious rabble-rouser and literary lion at the center of it all.

At the end of the Civil War, a Confederate team is ordered to rob a Union payroll train but the war ends leaving these men with their Union loot, until the Feds come looking for it.

Federico Fellini drew upon his background as a cartoonist for his first solo feature, a charming comic fable about the lure of fantasy and the pitfalls of temptation. In Rome for her honeymoon, a wide-eyed newlywed (Brunella Bovo) sneaks away from her straitlaced groom (Leopoldo Trieste) and goes in search of the White Sheik (Alberto Sordi), the dashing hero of a photographed comic strip of which she is enamored—but soon discovers that her romantic ideal may be only an illusion. Featuring a memorable appearance by Giulietta Masina (playing the character she would reprise in Nights of Cabiria) and Fellini’s first collaboration with composer Nino Rota, The White Sheik finds the director already taking up one of his favorite themes: the alchemical interplay between life and art, imagination and reality.

Lynn and Lucy are life-long best friends, their relationship as intense as any romance. Neither has ventured far from where they grew up. Lynn, who married her first boyfriend and whose daughter is fast growing up, is delighted when the charismatic, volatile Lucy has her first baby, a boy. Lucy, however, does not react to motherhood as Lynn expects. Soon, they find their friendship tested in the most extreme circumstances.

Made in collaboration with Alberto Lattuada, Federico Fellini’s directorial debut unfolds amid the colorful backdrop of a traveling vaudeville troupe whose quixotic impresario (Peppino De Filippo) is tempted away from his faithful mistress (Giulietta Masina) by the charms of an ambitious young dancer (Carla Del Poggio). Though the details of what the division of duties was between the two directors are unclear, this lively backstage capriccio is unmistakably Felliniesque in its whimsical fascination with the heightened reality, carnivalesque characters, and exotic allure of the world of show business. In the first of her celebrated collaborations with her director husband, Giulietta Masina displays the spirited vulnerability that would soon become an archetype of cinematic emotiveness.

An American Civil War veteran embarks on a journey to rescue his niece from the Comanches.

When her best friend and roommate abruptly moves out to get married, Susan (Melanie Mayron), trying to be an artist while making ends meet as a bar mitzvah photographer on Manhattan’s Upper West Side, finds herself adrift in both life and love. A wonder of American independent cinema by Claudia Weill (who, when she was admitted to the Academy of Motion Picture Arts and Sciences as a director in 1981, was one of only four women ever to have received that honor), Girlfriends is a remarkably authentic vision of female relationships that has become a touchstone for makers of an entire subgenre of films and television shows about young women trying to make it in the big city. This 1970s New York time capsule captures the complexities and contradictions of women’s lives and relationships with wry humor and refreshing frankness.

This special Blu-ray collection features a ‘pop in’ to Popeye’s career in animated films! Featured are classic shorts from the Fleischer Studios and Famous Studio, plus “Barbecue for Two” the original pilot for the first Television series. This set features new HD scans from original 35mm and 16mm prints, including a rare 1930s Technicolor print of “Popeye Meets Sindbad’. Best of all, this set is chock full of bonus features, including a new HD restoration of the 1939 Popular Science short featuring the making of a Fleischer Popeye cartoon, still galleries and rare interviews.

Seen by over 120 million people worldwide one of the world's most popular musicals. Now cinema audiences can experience a live broadcast of the musical phenomenon which broke box office records and sold out its entire 16-week season.