Within that bizarre flower lies a huge enigma,” muses Nick Carter, America’s Greatest Detective, called to Prague to investigate the case of a missing dog and instead winding up in the jaws of a giant carnivorous plant controlled by his old nemesis, The Gardener, in Czech director Oldřich Lipský’s beloved cult hit. Inspired by the Nick Carter dime novel detective stories created by John R. Coryell, ADELA is an irresistible slapstick combination of 19th century James Bond gadgetry, Little Shop of Horrors, Blake Edwards circa The Pink Panther Strikes Again and Louis Feuillade silent serials like Fantomas. In other words, a sheer delight.

Finnish director Risto Jarva’s fascinating, futuristic sci-fi mystery is set in a dystopian, Pop Art-designed world of gleaming white towers, Sony video monitors and inflatable furniture, where the beautiful inhabitants all dress as Edie Sedgwick-like pixie sprites or medieval page boys out of LOGAN’S RUN. A historian of late 20th century culture - “before class boundaries were abolished” – named Raimo (Arto Tuominen) is researching the death many years earlier of a free-spirited erotic model named Saara (Ritva Vepsä) who died under mysterious circumstances. Raimo finds Saara’s identical double – an earthy, uninhibited engineer named Kisse (also played by Vepsä) -- and tries to convince her to re-enact Saara’s life and death for TV.

Swiss director Jean-Louis Roy’s long-lost mid-1960s Cold War super-spy thriller is a marvelous and surreal hall of mirrors, part-DR. Strangelove, part-Alphaville, with sly nods to British TV shows like “The Avengers.” The film stars a Who’s Who of great Sixties character actors starting with the unforgettable Daniel Emilfork as crazed scientist Herbert Von Krantz, who’s invented a device to sterilize all nuclear weapons. A mad herd of rival spies are desperate to get their hands on the device, including legendary French singer Serge Gainsbourg as the leader of a sect of bald, turtleneck-wearing assassins, and Jess Franco vet Howard Vernon (The Awful Dr. Orlof). Gainsbourg’s deranged jazz-lounge song, “Bye Bye Mr. Spy” – performed by him on a funeral parlor organ, no less – is arguably the film’s high point. “An accomplished spy is at the same time psychologist, artist, funambulist, conjurer,” to quote one of the characters – and the same could be said of Roy’s exotic camera obscura of B&W Cold War paranoia.

From the producer of "Easy Rider," Dennis Hopper stars as Sgt. Jack Fallen in this Cannes Official Selection. Returning home from the Vietnam War to accompany a friends body across the country via train, Fallen enters a hallucinatory reality of memory, war, and desire. Also starring Dean Stockwell and Taryn Power.

In the vein of horror anthologies like Bava's BLACK SABBATH, the long-unseen PRAGUE NIGHTS is a gorgeous and supernatural vision of ancient and modern Prague: caught between Mod Sixties fashions and nightmarish Medieval catacombs, and filled with Qabbalistic magic, occult rituals, clockwork automatons and satanic visitors. In the first tale, director Jiří Brdečka's stunning "The Last Golem," a young rabbi (Jan Klusák) struggles to fashion a massive, silent giant out of living clay - until he's distracted by a mute servant girl (Lucie Novotná). In the second episode, "Bread Slippers," an 18th-century countess (Teresa Tuszyńska) indulges her passion for sweet cakes, adulterous affairs, and secret kisses with pretty maids - until a mysterious visitor (Josef Somr) whisks her away to an abandoned mansion, where Fate has a different kind of dance in store for her. In the final story, "Poisoned Poisoner," a ravishing murderess in the Middle Ages dispatches lecherous merchants to the tune of upbeat 60s Czech Pop songs (scored by the renowned Zdeněk Liška).

11-year-old Jabai sells mountain onions with his sister on the border highway of Kazakhstan. One day, he catches his mom having an affair with a trucker. But soon he discovers the powers of Viagra, and goes on a misadventure to get some for his dad.

Clockwatchers is the "sharp-edged black comedy" (Roger Ebert) about four office temps trying to maintain both their upward mobility and their sanity. The four women—shy Iris (Toni Collette, Hereditary), brash Margaret (Parker Posey, Party Girl), wannabe starlet Paula (Lisa Kudrow, Friends), and pampered Jane (Alanna Ubach, Bombshell)—become fast friends while temping at a big company where looking busy is a full-time occupation.

In the vein of horror anthologies like Bava's BLACK SABBATH, the long-unseen PRAGUE NIGHTS is a gorgeous and supernatural vision of ancient and modern Prague: caught between Mod Sixties fashions and nightmarish Medieval catacombs, and filled with Qabbalistic magic, occult rituals, clockwork automatons and satanic visitors. In the first tale, director Jiří Brdečka's stunning "The Last Golem," a young rabbi (Jan Klusák) struggles to fashion a massive, silent giant out of living clay - until he's distracted by a mute servant girl (Lucie Novotná). In the second episode, "Bread Slippers," an 18th-century countess (Teresa Tuszyńska) indulges her passion for sweet cakes, adulterous affairs, and secret kisses with pretty maids - until a mysterious visitor (Josef Somr) whisks her away to an abandoned mansion, where Fate has a different kind of dance in store for her. In the final story, "Poisoned Poisoner," a ravishing murderess in the Middle Ages dispatches lecherous merchants to the tune of upbeat 60s Czech Pop songs (scored by the renowned Zdeněk Liška).

Bruce Campbell (Evil Dead) stars as Carl, a man who launches a full-scale heist to steal mob money from the prison that just released him. With the help of an old friend (Jeremy Roberts, The People Under the Stairs), a driver and a safe-cracker, Carl's attempt to carry out the heist is fraught with incompetence and bad luck. As the clock ticks and the circumstances turn tragic, Carl is forced to make the most important decision of his life. Inspired by Alfred Hitchcock's Rope and filmed over twenty years before Sam Mendes' 1917, writer/director Josh Becker designed Running Time to play out using the "one continuous shot" technique with no computer-assisted trickery. Expertly photographed and edited on film to take place over 70 minutes of real-time, this gritty crime drama was shot entirely on location in the streets of Los Angeles.

Director Toshio Matsumoto’s shattering, kaleidoscopic masterpiece is one of the most subversive and intoxicating films of the late 1960s: a headlong dive into a dazzling, unseen Tokyo night-world of drag queen bars and fabulous divas, fueled by booze, drugs, fuzz guitars, performance art and black mascara. No less than Stanley Kubrick cited the film as a direct influence on his own dystopian classic A Clockwork Orange. An unknown club dancer at the time, transgender actor Peter (from Kurosawa’s Ran) gives an astonishing Edie Sedgwick/Warhol superstar-like performance as hot young thing Eddie, hostess at Bar Genet — where she’s ignited a violent love-triangle with reigning drag queen Leda (Osamu Ogasawara) for the attentions of club owner Gonda (played by Kurosawa regular Yoshio Tsuchiya, from Seven Samuri and Yojimbo). One of Japan’s leading experimental filmmakers, Matsumoto bends and distorts time here like Resnais in Last Year at Marienbad, freely mixing documentary interviews, Brechtian film-within-a-film asides, Oedipal premonitions of disaster, his own avant-garde shorts, and even on-screen cartoon balloons, into a dizzying whirl of image + sound. Whether laughing with drunken businessmen, eating ice cream with her girlfriends, or fighting in the streets with a local girl gang, Peter’s ravishing Eddie is something to behold. “She has bad manners, all she knows is coquetry,” complains her rival Leda – but in fact, Eddie’s bad manners are simply being too gorgeous for this world. A key work of the Japanese New Wave and of queer cinema, Funeral Parade has been restored in 4K from the original 35mm camera negative and sound elements.

The masterpiece of Japanese Cyberpunk Body Horror. A strange man known only as the "metal fetishist", who seems to have an insane compulsion to stick scrap metal into his body, is hit and possibly killed by a Japanese "salaryman", out for a drive with his girlfriend. The salaryman then notices that he is being slowly overtaken by some kind of disease that is turning his body into scrap metal, and that his nemesis is not in fact dead but is somehow masterminding and guiding his rage and frustration-fueled transformation.

Dennis Hopper’s radical, much-mythologized lost masterpiece – widely unseen for nearly 50 years until now in a new 4K Restoration! Consciously self-reflexive and co-written by Hopper and Rebel Without A Cause screenwriter Stewart Stern, The Last Movie follows a Hollywood movie crew in the midst of making a western in a remote Peruvian village. When production wraps, Hopper, as the baleful stuntman Kansas, remains, attempting to find redemption in the isolation of Peru and the arms of a former prostitute. Meanwhile, the local Indians have taken over the abandoned set and begun to stage a ritualistic re-enactment of the production – with Kansas as their sacrificial lamb. Among the most storied productions of the New Hollywoood Era, Hopper was given carte blanche by Universal for his next directorial feature after the tremendous commercial success of Easy Rider, and writer-director-star took the money and ran – literally – staging The Last Movie in Peru at farthest remove from the Hollywood machine, with an on-screen entourage in tow that included Kris Kristofferson, Julie Adams, Stella Garcia, Peter Fonda, Dean Stockwell, Toni Basil, Russ Tamblyn, Michelle Phillips and director Samuel Fuller. Although it won a special award at the Venice Film Festival, The Last Movie would effectively end Hopper’s career for many years – the Hollywood establishment gleefully writing him off as a self-indulgent madman. Yet the movie remains thrillingly innovative and remarkably contemporary – influenced greatly by the work of Bruce Conner and the French New Wave, as well as the Pop and Abstract artists Hopper revered. – Jessica Hundley

The essential document of New York’s 1980s New Wave scene and the archetypal "Midnight Movie" from director Slava Tsukerman returns home to Night Flight. In what is one of the most delectably stylish Science Fiction films ever produced: A small, heroin seeking UFO lands on a Manhattan roof, observes a bizarre, drug addicted fashion model and sucks endorphin from her sexual encounters' brains.

Labelled the "MTV of Opera," this kaleidoscope of work features the music of some of the greatest composers of all time visually interpreted by ten of the most innovative filmmakers in cinema. In 1987, producer Don Boyd brought together 10 of the world's most revered directors, including Nicolas Roeg, Robert Altman, Jean Luc Goddard, and Julien Temple, in order to pay homage to the opera. Each director was asked to create a short inspired by the emotions and intensity of their chosen aria. True to form, the result is a bizarre, moving, and spellbinding.  "With all of these wonderful visuals," Roger Ebert said, "it's sort of the first music video of opera."

Claire Niveau (Geneviève Bujold) is in love with handsome Beverly. Or does she love Elliot? It's uncertain because brothers Beverly and Elliot Mantle are identical twins sharing the same medical practice, apartment and women – including unsuspecting Claire. In portrayals that won the New York Film Critics Circle Best Actor Award, Jeremy Irons plays twin gynecologists whose emotional dependency collapses into mind games, madness and murder. David Cronenberg (The Fly) won the Los Angeles Film Critics Awards Best Director honors for melding split-screen techniques, body doubles and Iron's uncanny acting into an eerie, fact-based tale.

For his tenth feature, Terry Gilliam (Time Bandits, Twelve Monkeys) adapted Mitch Cullin's celebrated cult novel Tideland, a work he once described as "Alice in Wonderland meets Psycho through the eyes of Amélie." To escape her unhappy life in a remote part of Texas, nine-year-old Jeliza-Rose dreams up an elaborate fantasy world. But the reality of having junkie parents - played by Jeff Bridges (The Big Lebowski) and Jennifer Tilly (Bound) - and the influence of her eccentric neighbours begins to encroach, turning her daydreams ever darker. A rich slice of Southern Gothic blurring whimsical fantasy with unsettling reality, Tideland is among Gilliam's most personal works - indeed, with its shifts between the amusing and the macabre, expressive camerawork and striking special effects, the film could be the very definition of Gilliamesque!