American Splendor retrace la véritable histoire du scénariste de comics Harvey Pekar. Au début du film, celui-ci mène une existence plutôt morose entre son travail de documentaliste, quelques conversations sur tout et rien avec ses collègues et quelques connaissances, et sa passion pour le jazz, qu'il assouvit en recherchant des pièces rares dans les garage sales (équivalent américain des vide-greniers) ou les magasins d'occasion. C'est ainsi qu'il fait la connaissance du célèbre dessinateur de bande dessinée Robert Crumb, alors inconnu, qui est lui aussi collectionneur. Plusieurs années plus tard, alors que Crumb est devenu célèbre, Harvey lui soumet les story-boards d'un projet de bande dessinée basée sur sa vie, lui proposant d'en assurer le dessin. Crumb accepte, et contre toute attente, cette série intitulée American Splendor relatant une vie simple, banale, obtient un grand succès. Harvey Pekar acquiert ainsi une certaine célébrité aux États-Unis, dont les conséquences sur sa vie quotidienne sont présentées dans le film. En particulier, American Splendor lui permet de rencontrer sa future femme Joyce Brabner, qui écrit elle aussi des comics, et avec qui il va réaliser d'autres histoires autobiographiques, également intégrées en partie dans le film (notamment Our Cancer Year).
A director by the name of Alan Smithee has been allowed to direct Trio, a big-budget action film starring Sylvester Stallone, Whoopi Goldberg and Jackie Chan. The studio recuts the film, and when Smithee sees the results (which he describes as being "worse than Showgirls"), he wants to disown the film. However, since his name is also the pseudonym used by Hollywood when someone does not want to have their name attached to a bad film, he steals the film and flees, threatening to destroy the film by burning it.
The comedian Alvy Singer (Woody Allen) is trying to understand why his relationship with Annie Hall (Diane Keaton) ended a year ago. Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity.
Moretti is a director in crisis and would like to make a musical film that speaks to the history of a pastry in the Cold War. However, each time he starts to develop the project, Moretti leaves the Institute to devote himself to meditation. In fact there is something in the Italy of his day that afflicts him: the demonic presence in Italy of Silvio Berlusconi and his corrupt colleagues (including Emilio Fede in the TV news) in the government. Moretti, a Communist Party, would like a jolt did topple the government of Berlusconi, but to no avail. After a few days he really wants to make a movie about all the misdeeds of the Prime Minister, but his plans are thwarted by the birth of his child, to whom he devotes himself with an obsessive love. Not knowing what to do, as he seriously risking to fail as a film director, Moretti takes up the idea of the film on the pastry singer.
On November 4, 1979, Iranian activists storm the United States embassy in Tehran in retaliation for President Jimmy Carter giving the Shah asylum in the U.S. during the Iranian Revolution. More than 50 of the embassy staff are taken as hostages, but six avoid capture and hide in the home of Canadian ambassador Ken Taylor. With the escapees' situation kept secret, the U.S. State Department begins to explore options for exfiltrating them from Iran. Tony Mendez, a U.S. Central Intelligence Agency exfiltration specialist, is brought in for consultation. He criticizes the proposals, but is at a loss when asked for an alternative. While on the phone with his son, he is inspired by watching Battle for the Planet of the Apes and begins plans for creating a cover story for the escapees: that they are Canadian filmmakers who happened to be in Iran scouting exotic locations for a similar science-fiction film.
The story is told in flashback as Diane (Joan Collins) explains to American Intelligence how transmissions from passengers picked up from a missile to the moon are by Americans rather than Russians.
Depuis 1969, au Burkina Faso se déroule tous les deux ans, un des événements cinématographiques les plus importants du continent africain : le Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO). La ville devient durant dix jours la capitale des cinéastes du continent et attire aussi producteurs, distributeurs, réalisateurs, comédiens, journalistes, télévisions et radios du monde entier. Moustapha Alassane, cinéaste nigérien fut, avec Sembène Ousmane, Timité Bassori…, l'un des pionniers de ce festival humaniste. Créateur et conteur intarissable, réalisateur de films de fiction, de documentaires et de films d’animation, Moustapha Alassane, pris dans l’ambiance du FESPACO, au bord de la piscine de l’hôtel Indépendance, raconte les débuts du FESPACO, se souvient... salue des amis cinéastes, plaisante.
Hossein Rezai plays a local stonemason-turned-actor. Outside the set of a film in which he is acting, he makes a marriage proposal to his leading lady, a student named Tahereh, who was orphaned by an earthquake. Because he is poor and illiterate, the girl's family finds his offer insulting; the girl avoids him as a result. She continues evading him even when they are filming, as she seems to have trouble grasping the difference between her role in the film and her real-life self. The fictional couple takes part in what would be the filming of Life, and Nothing More....
Presented as a severely degraded home movie, the film opens with a man named Peter inviting his camera-wielding friend into his basement, where he is holding a woman named Laura captive. Having already killed her boyfriend (whose castrated body has been left in a bathtub to rot) Peter is keeping Laura alive so he and his accomplice can torture her at their leisure, committing sadistic acts such as slicing one of her nipples off, and covering her in feces and urine.
Like its predecessor, Mordum is presented as a degraded home movie shot by serial killers, in this case returning character Peter, his sadomasochistic girlfriend Crusty, and her sexually depraved manchild brother Maggot (the status of the cameraman from the first film is unrevealed).
August Underground's Penance continues the series's narrative mode of showing the lives of serial killers (now just Peter, and his girlfriend Crusty) through their camera, though this installment abandons the "degraded footage" aspect employed by the first two films, being shot in high-definition.
In 2002, in a new lair behind the famous Hollywood sign, Dr. Evil outlines his newest plan to his minions: he will go back in time to 1975 and bring back Johan van der Smut, aka "Goldmember", who developed a cold fusion unit for a tractor beam which Dr. Evil names Preparation H, not to be confused with the well known product of the same name - Preparations A through G had failed earlier. He intends to use the tractor beam to pull a meteor into the Earth to strike the polar ice caps and cause global flooding. However, moments after revealing this plan Austin Powers and the British Secret Service attack and arrest Dr. Evil. Austin is knighted for his services, but is disappointed when his father, the famous super-spy Nigel Powers, fails to attend the event. At a party to celebrate his knighthood he sings a song with the band Ming Tea; later he meets two Japanese twins named Fook Mi and Fook Yu and is about to have a threesome with them when Basil Exposition informs Austin that his father has been kidnapped, the only clue being that the crew of his yacht have had their genitalia painted gold.
The title is derived from the source material for Apocalypse Now, the Joseph Conrad novella Heart of Darkness. Using behind-the-scenes footage, and narrated by Eleanor Coppola, it chronicles how production problems including bad weather, actors' health and other issues delayed the film, increasing costs and nearly destroying the life and career of Francis Ford Coppola. In 1990, Eleanor Coppola turned her material over to two young filmmakers, George Hickenlooper and Fax Bahr (co-creator of MADtv), who then shot new interviews with the original cast and crew and intercut them with her existing material. After a year of editing, Hickenlooper, Bahr, and Coppola debuted their film at the 1991 Cannes Film Festival to universal critical acclaim.
En 1951, Eddie Mannix (Josh Brolin) est à la tête de la production du célèbre studio américain de Capitol Pictures et travaille également comme fixeur, sa pire activité, afin d'éviter des comportements scandaleux de la part de ses vedettes avant qu'ils ne soient publiés dans la presse. Il doit également gérer en parallèle sa vie de famille mais aussi la société Lockheed qui souhaite l'engager pour un poste plus offrant, cependant il n'est pas sûr de l'accepter. Une journée qui s'annonce mouvementée et pénible pour Eddie Mannix.
Avec Buster Keaton est un documentaire de 1965 sur le tournage du film The Railrodder (avec Buster Keaton), également tourné en 1965. Bien qu'il ne s'agisse que d'un documentaire de production, ce film est en fait plus long que The Railrodder, qui ne dure que 24 minutes. Les deux films ont été produits par l'Office national du film du Canada.
Avec Buster Keaton montre des extraits de précédents films de Keaton, Butcher Boy (1917), The frozen north (1922), Seven Chances (1925), et le mécano de la Générale (1927). Le film a été réalisé par John Spotton et narré par Michael Kane.