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Flash is a curmudgeon with a hankering for classic movies and booze. Cameron is a volatile teen who commits grand theft auto just because the car is an exact replica from Christine. Their relationship is forged in the darkness of a movie theater and fueled by a mutual appreciation of rebellion and cinema. Cameron enters a student film contest, though he lacks the resources of his peers. Learning that Flash is a retired Hollywood gaffer--and the only surviving crew member from Citizen Kane--Cameron follows him to his home at the Motion Picture Residence for the Elderly, a colony of aging film folk set aside by the industry. A quirky fellowship develops, in which Flash and his friends help Cameron make his film and, in doing so, change his life.

A man steals the Mona Lisa from the Louvre in 1911. His 84-year-old daughter thought he did it for patriotic reasons. A filmmaker spends more than 30 years trying to find the truth.

Farmer's daughter Savitra rebels when her father consents to her marriage to foolish mill worker, Bopya. She wants the freedom to choose her own husband and has her heart set on fisherman, Madhu, but she has no desire to cause a scandal or dishonor her family. Determined to be rid of her ridiculous would-be husband, the crafty girl seeks a way to change her fate as she manipulates superstitions and the traditions that would make her a man's property.

As a spry centenarian, Russian cartoonist Boris Efimov (who died last year at 109) had lived under, and in sometimes frightening proximity to, three consecutive nexuses of power as his country wound through Czarist, Soviet and federal rule. His reluctant connection with the state-sponsored media that employed him to lampoon political targets, including dubiously nominated "enemies of the people," took its cruelest turn after Stalin ordered the execution of his beloved brother Mikhail Koltsov, inspiration for Karkov in Hemingway's For Whom the Bell Tolls. Effectively blacklisted afterward as the relative of a dissident, Efimov was nonetheless spared the Gulags and eventually-through complicated machinations also likely guided by Stalin, who was a great fan of his work-reinstated as Pravda's top cartoonist. Kevin McNeer's utterly absorbing peek behind the Red Curtain investigates this complex relationship between Russia's greatest political cartoonist and the dreaded dictator who earned his tremulous but abiding respect.

Stepping in and out of character while trolling around an elegant Dutch theater augmented by life-sized video projections of a modern production of The Merchant of Venice, actor Cahit Ölmez is decidedly "not just talking about plays and acting." Addressing us, his audience, Ölmez excavates Tubal, a minor but freighted Shakespearean creation, the only friend of Merchant's notorious Semitic villain, Shylock. Tubal grants Ölmez fresh access to Shylock, and the scars of the Elizabethan era's rampant anti-Semitism. And though Shakespeare may never have known a Jew, Shylock's tragic dimension has given rise to an unsettling ambiguity winding through centuries of theatrical history to this moment: a provocative meta-theatrical venture seeking nothing less than the chance to set Shylock free.