A frank and unconventional view of the life and work of actor Nick Nolte.

Three women each claim to be the widow of 1950s doo-wop singer Frankie Lymon, claiming legal rights to his estate.

Life imitates art when two Manhattanites — pompous teacher Willie and quiet photographer Phil — become friends after a thought-provoking screening of "Jules et Jim," Truffaut's classic film about a decades-long ménage à trois. Soon, the men meet Jeanette, a sexually liberated southern transplant who promptly falls for both of them. Frustrated passions curdle into jealousy as Jeanette entertains love affairs with each in the ensuing years.

Meryl Streep conducts us to a trip to New York City as presented in many films during the 20th Century, and how its cultural importance and impact are important to viewers. With a comprehensive gathering of clips from films between 1910's and 1990's, the documentary presents the mandatory classic films that presented the city and its multiple cultural variations, situations and the great stories filmed there. Actors and directors also discuss how they view the city in reality and also through the pictures.

Harry Stone always dreamed of making "The Great American Movie." Instead, he made "The Pickle" - a teenage sci-fi flick about a flying cucumber. Harry just wanted to get out of debt; now everyone he's ever known, loved and neglected is standing in line for tickets.

Two novice thieves are plotting to rob a bank in Vancouver. A photographer snaps a shot of one thief as he is carrying the bank building's blueprints. The would-be thief then begins a relationship with the photographer and attempts to retrieve the photos. Meanwhile, the thieves' plot consists of this: one man will enter the bank building after dark, while the other man sits in a van and uses a computer to unlock the building's doors. The final step involves transporting the cash to a freight ship waiting on the docks, for transportation to a money launderer in Macau.

As two warring media moguls grapple for ownership of a coveted professional football team, they use the newspapers, magazines and television stations they own to destroy each other's reputations.

Bohemian Alex Morrison has just finished directing his first feature length movie. In its previews, the movie is considered a critical, artistic and surefire commercial success. As such, Alex seemingly has his choice of what his next project will be. As he makes the rounds both in the Hollywood community and European movie centers for ideas, he fantasizes about movie scenarios of those everyday situations he is in.

Harold Fine is a self-described square - a 35-year-old Los Angeles lawyer who's not looking forward to middle age nor his upcoming wedding. His life changes when he falls in love with Nancy, a free-spirited, innocent, and beautiful young hippie. After Harold and his family enjoy some of her "groovy" brownies, he decides to "drop out" with her and become a hippie too. But can he return to his old life when he discovers that the hippie lifestyle is just a little too independent and irresponsible for his tastes?

Profile of the producer and former studio head of 20th Century Fox in the 1970s, Alan Ladd Jr.

Set in 1951, a blacklisted Hollywood writer gets into a car accident, loses his memory and settles down in a small town where he is mistaken for a long-lost son.

Writer-director Paul Mazursky was one of several filmmakers of the 1960s and 1970s to turn his attention to the growing social tensions caused by the liberalization of sex roles and more open attitudes to love and marriage. His explorations of permissive relationship began famously in 1969 with Bob and Carol and Ted and Alice and extended to his most successful film, An Unmarried Woman, in 1978, centering on a newly divorced woman. Between the two, in 1973, he concocted this bittersweet comedy, which features George Segal as a man who falls in love with his ex-wife after she has divorced him for cheating on her. Slyly probing the complexities of contemporary marriage, Mazursky's story is a prime example of the relationship-centered films of the 1970s.

A romantic comedy about a man, the food he loves, and the woman who tortures him.

Based on a play by Jean Genet, a small-time thief battles with his gay cellmate over a third illiterate, muscular convict.

1985 film by John Landis

A comedy about a married couple -- he's a sports lawyer, she's a psychologist -- which takes place on their 16th wedding anniversary, when they make some startling confessions.

Drunken, has-been rock star John Norman Howard falls in love with unknown singer Esther Hoffman after seeing her perform at a club. He lets her sing a few songs at one of his shows and she becomes the talk of the music industry. Esther's star begins to rise, while John's continues to fall. She tries desperately to get John to sober up and focus on his music, but it may be too late to save him.

1998 American animated film

Richard Dadier is a teacher at North Manual High School, an inner-city school where many of the pupils frequently engage in anti-social behavior. Dadier makes various attempts to engage the students' interest in education, challenging both the school staff and the pupils. He is subjected to violence as well as duplicitous schemes.

The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.