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In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

A shipowner intends to scuttle his ship on its last voyage to get the insurance money. Charlie, a tramp in love with the owner's daughter, is grabbed by the captain and promises to help him shanghai some seamen. The daughter stows away to follow Charlie. Charlie assists in the galley and attempts to serve food during a gale.

Victor Frankenstein is a promising young doctor who, devastated by the death of his mother during childbirth, becomes obsessed with bringing the dead back to life. His experiments lead to the creation of a monster, which Frankenstein has put together with the remains of corpses. It's not long before Frankenstein regrets his actions.

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.

Two families embark on a pleasant Sunday picnic but manage to run into a variety of issues with their temperamental automobile. Each incident requires repeated exits and reboardings by Laurel, Hardy, their wives and grouchy, gout-ridden Uncle Edgar.

A hypochondriac vacations in the tropics for the fresh air - and finds himself in the middle of a revolution instead.

20 men are chosen to participate in the roles of guards and prisoners in a psychological study that ultimately spirals out of control.

Step back into the imaginative and frankly terrifying world of Becky & Joe with Don’t Hug Me I’m Scared. In this episode: Some things change over Time.

A white dropout struggles to become a cartoonist and filmmaker, drawing inspiration from the harsh, gritty world around him. Still sharing his rundown apartment with his middle-aged parents, an oafish slob of an Italian father and a ditzy nutcase of a Jewish mother, he's ridiculed and looked down upon by his friends, hypocrites who run with violent gangs and the Italian Mafia, and a shallow Black girl who makes her living downtown with the pimps and pushers. The cartoonist gets a chance to pitch a film idea to a movie mogul, but the story proves too outrageous: a far-future Earth, depleted by war and pollution, where a mutant antihero challenges and kills God.

The Little Fellow finds the girl of his dreams and work on a family farm. He helps defend the farm against criminals, and all seems well, until he discovers the girl of his dreams already has someone in her life. Unwilling to be a problem in their lives, he takes to the road, though he is seen skipping and swinging his cane as if happy to be back on the road where he knows he belongs.

Mike discovers that being the top-ranking laugh collector at Monsters, Inc. has its benefits – in particular, earning enough money to buy a six-wheel-drive car that's loaded with gadgets. That new-car smell doesn't last long enough, however, as Sulley jump-starts an ill-fated road test that teaches Mike the true meaning of buyer's remorse.

Stan and Ollie join the French Foreign Legion after Ollie's sweetheart rejects him.