Mr. Miami Beach

My Trip to Miami follows a well-meaning, misguided, tourist as he tries to self-actualize via Trip Advisors algorithmic script. My Trip to Miami is a documentation of a fantasy, a failure in image-based expectations.

An uncannily revealing portrait of American photographers Andy Sweet and Gary Monroe and the vibrant community of Jewish retirees they obsessively focused their camera's lens on in the sunburned paradise of 1970s Miami Beach.

Director Eric Smith documents the life and wild fashion sense of Miami Beach's Irene Williams.

Three days into his Miami honeymoon with needy and unsophisticated Lila, Lenny meets tall, blonde Kelly. This confirms his fear that he has made a serious mistake and he decides he wants to be with Kelly instead.

After getting a green card in exchange for assassinating a Cuban government official, Tony Montana stakes a claim on the drug trade in Miami. Viciously murdering anyone who stands in his way, Tony eventually becomes the biggest drug lord in the state, controlling nearly all the cocaine that comes through Miami. But increased pressure from the police, wars with Colombian drug cartels and his own drug-fueled paranoia serve to fuel the flames of his eventual downfall.

Raoul McLish stops over in Miami Beach where he runs into his ex-wife, Vicky Benton, and her new husband Bob, a belt manufacturer. At first Bob enjoys Raoul's presence - in part because Vicky is his not Raoul's and in part because Raoul is a lot of fun. The fun wears thin for Bob as his seriousness and possessiveness take over. When Bob leaves for a few days to settle a labor dispute at his factory, Vicky and Raoul spend time together, Winchell's column implies untoward behavior, Bob barks at Vicky, and that gets her back up. Can things be sorted out? Help comes from Raoul's upright valet, McTavish, and a principled cigarette girl, Joy, whom Raoul picks up.

The Police Academy misfits travel to Miami Beach for Commandant Lassard to be honored with a prestigious lifetime award pending his retirement. Things take a turn when Lassard unknowingly ends up in possession of stolen diamonds from a jewel heist.

The Pictures that Moved (1896-1920) - A novel moving picture of Australia early in the 20th century. It moves through ethnographic and actuality films, newsreels and features to the 1920 features Robbery Under Arms and The Sentimental Bloke. The Passionate Industry (1920-1930) - The twenties was a passionate period - a decade of fervent, feverish activity in the film industry in Australia when over 100 feature films were made. Fewer than 30 survive today. This documentary features For the Term of His Natural Life, the husband-and-wife team of Louise Lovely and Wilton Wench and the work of director Raymond Longford among material from 50 newsreels, 16 feature films and still photographs drawn from over 70 collections. Now You're Talking (1930-1940) - The story of the Australian film industry in the thirties, from the pioneering days of "talkies" through to the decline of the industry with the coming of World War Two.

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This documentary follows the vacations of four prisoners, during four days, while they spend Christmas with their families for the first time.

This innovative and spectacular 3-part series shows how examples from nature can make human beings and their machines faster, smarter and more efficiently. Whether in ice deserts, under thousands of meters of water, or on the highest mountains in Order to survive, animals need the conceivable best, toughest and most sophisticated equipment. Over the past three and a half billion years of evolution always had it develop new, more crafty plans and recipes. When we observe people's nature, therefore we find many of our own toughest technical problems already solved. We just have to look closely.

An all-star celebrity tribute to celebrate George Burns 80th Anniversary in show business.

This documentary is about a group of people led by the anti-high artistic attitude of the underground culture of the end century during the Mid-Autumn Festival in 1995 for three consecutive days and two nights, supported by the unprecedented courage of the Taipei County Cultural Center; the planning is broken.

A Self-Portrait is the story of the art teacher Qiu Sha, told in photos and the words of Qiu Sha, about his youth, the changes in his family and in society. Director He Yi: 'What I remember now is the material that I came to mind of a man who has lived through the different eras in China. From all this material I not only read the history of a man and his family, I also learned something about the demands placed on life in a society over several decades.

A woman teaches her techniques on how to seduct over men.

A woman explains her distaste for the use of underwear.

A documentary encompassing gay life in New York City. The ultimate goal for this film is to exhibit the historical culture culture of New York City's gay lifestyle and expose how the unknown modern gay life has evolved.

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

Cuban peasants wield machetes in a violent uprising against Spanish authorities in the late 19th century.

An animated documentary film, based on an actual story of a woman from Damascus countryside. Suleima evokes some of childhood memories, when her thoughts refusing injustice had arisen. The film is a portrait of Suleima, and a monitoring of intellectual and social shifts she experiences during the events. The visual environment: has been presented graphically fully of sharp contrasts, and imaginary mixed with reality.