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A young boy named Max who, after dressing in his wolf costume, wreaks such havoc through his household that he is sent to bed without his supper. Max's bedroom undergoes a mysterious transformation into a jungle environment, and he winds up sailing to an island inhabited by malicious beasts known as the "Wild Things." After successfully intimidating the creatures, Max is hailed as the king of the Wild Things and enjoys a playful romp with his subjects. However, he starts to feel lonely and decides to return home, to the Wild Things' dismay. Upon returning to his bedroom, Max discovers a hot supper waiting for him.

A conversation between two women about the desires and banalities of life. Both women share the same homeland, one stayed there while the other emigrated, but the distance hasn't severed their friendship nor the similarities in their perspectives.

An experimental staged documentary.

Where the Girls Are was a music and comedy special that aired on NBC in 1968. Noel Harrison, fresh from his role in the NBC series Girl From U.N.C.L.E., hosted the hour-long special. Comic skits were performed by Professor Irwin Corey and Don Adams, who was starring in the NBC series Get Smart. Musical numbers were performed by The Association, Barbara McNair, Cher and The Byrds. The "Close-Up" for the program in the April 20–26, 1968 TV Guide also notes: "The goings-on include antic camerawork and a bevy of mini-clad beauties." Celanese Arnel was a major sponsor. The special was broadcast on Tuesday, April 23, 1968. It pre-empted the Jerry Lewis Show on NBC's network schedule.

When Jen's son disappears during a game of hide-and-seek she unwittingly embarks on a journey through time to find him.

A 16th-century Cucupá woman must journey through time to connect with a disaffected young man in modern Mexico City. Together, they must confront their destinies to prevent humanity's impending extinction.

Based on Joyce Carol Oates' short story, the film follows Connie, a 15 year old girl through her life and summer in 1966. Her summer comes to a halt one afternoon while her family is away from their home. She meets a stranger named Arnold Friend whose interest in her may not be what it seems.

Where Are They Now? is a show hosted by Lydia Shum in 2006, and was shown on TVB in 2006, as well as on Fairchild TV in Canada in 2007 and 2008. Throughout the 32 episodes, Lydia Shum travelled to Taiwan, Japan, USA, and Canada to interview popular celebrities of the 1960s in Hong Kong and Taiwan. Most of these celebrities have now emigrated to foreign countries.

Based upon a true story, Marg Helgenberger stars as a single mother mysteriously arrested by the FBI and separated from her children, thus beginning a 25-year struggle to be reunited with them.

The plot of the film unfolds in the ancient monastery of Dokhiar on the west coast of Mount Athos, on the Aegean peninsula. This peninsula is given to the exclusive use of the monks of Eastern Christianity. Images of nature are woven into a virtually uninterrupted series of work and prayer, lining up in the rhythmic interrelation of man and nature. The central figure of the film was the monastery’s elder, Hegumen Gregory, whose long-term experience of spiritual nourishment rewarded him with a deep understanding of the human soul and her desire to return to the state characteristic of Adam’s human nature before the fall.

A comedy mystery web-series that follows the exploits of three gay bear roommates living together in Los Angeles, as they attempt to solve the murder of a party guest that turned up dead in their bathtub.

Judy Wilson (Gale Storm), feeling neglected because both of her parents are working in defense plants, meets and falls in love with Danny Chester (Jackie Cooper), who enlists in the Navy and is sent to San Diego for training. She accepts an invitation to go on a ride to San Diego with her friends Herb (Neyle Morrow), Opal (Evelyn Eaton)and Jerry (Jimmy Zahner) but doesn't know the car has been stolen.

Guan and Kai are good friends, they often travel together on a train. However, as time goes by, they gradually go different ways. When they start to have different lives, will they still be good friends?

Abandoned in an orphanage, subsequently adopted by wealthy Mr. Mohanto and Gayetri, Gopal Mohanto lives a wealthy lifestyle in Guwahati. His foster mother is often cruel to him, and he runs away to Bombay, where he meets some youth in his age group and starts earning money delivering newspapers under the supervision of Badru. One day he finds some money belonging to Bollywood actress, Shalini, and returns it to her.

Albertine is the most controversial character of Recherche du temps perdu, the most mentioned yet the one we know the least about: we do not know where she comes from, what she does for a living, where she ends up… and even when she dies, we wonder if she ever existed at all. Several critics saw in Albertine Proust’s driver Alfred Agostinelli, a young Italian with whom Proust had been madly in love. The novel and Proust’s life become the excuse for a contemporary love story – where Marcel, Albertine and Alfred hide, bluff, swap genders and roles, experiencing love as an eternal question, aware that the heart of things cannot be captured, but only glimpsed at.

Sentenced to life in a jar, a frog runs away and searches for a new home.

"Where are you Sophia" is the story of a local newspaper columnist from a rural town called Highlands Where she mysteriously disappears and ends up meeting Charlie, a young handsome man from Jersey Shores. She takes him on a journey where he is introduced to the realms of the unknown which only he can unravel as he faces the mysterious forces in the evil town of Highlands.

Jennifer, Where Are You? is structured by a speech-act, a constant proleptic call, a man’s voice which has been edited and recut into a repetitive and pervasive presence. The insistence of this male voice, which repeats the phrase “Jennifer! Where are you?” every 30 seconds, parodies the authority conceded to voice-overs in the cinema. The voice is patriarchal, relentless, and runs the entire length of the film. Cut-aways to a small girl, glancing at the camera as she plays with lipstick and matches, reapportion the relation between patriarchal phonocentrism and masculine gaze. But is this small child subject to either? No. Not really. There she is, hiding in plain sight–ours, not ‘his’–a ‘purloined subject’ successfully evading subjugation through response or acquiescence. ‘Jennifer,’ whoever she might be (a cipher, a pseudonymous textual marker of gendered cinematic presence) is never apprehended, and the film, for all of its suspense, simply ends.