Un buscavidas (Bradley Cooper) se compincha con una pitonisa (Cate Blanchett) para estafar a millonarios... Remake del film "El callejón de las almas perdidas" (Nightmare Alley), de 1947.
Es el verano de 1987 y el recién graduado universitario James Brennan no puede esperar para iniciar un viaje largamente esperado a Europa. Desafortunadamente, los planes de James cambian cuando sus padres le informan que no le pueden pagar el viaje. Obligado a trabajar en un parque diversiones local, James se prepara para el peor verano de su vida, hasta que se enamora de una compañera de trabajo llamada Em.
Stanton Carlisle (Tyrone Power) es un aventurero que llega a una feria deseoso de abrirse camino y progresar. Tras sentirse impactado con el "monstruo" que allí exhiben, conocerá a Zeena (Joan Blondell), la pitonisa, y también a Molly (Colleen Gray), una joven que enseguida se siente atraída por él
Cinco personas son secuestradas en los días previos a Halloween y secuestradas en un lugar llamado Murder World. Mientras están atrapados, deben jugar un juego violento llamado 31 donde la misión es sobrevivir 12 horas contra una pandilla de malvados payasos.
Tired of being a small-town waitress, Donna departs with the latest carnival show, living with entertainers Frankie and Patch in a tense, emotional triangle.
Vienna’s Prater is an amusement park and a desire machine. No mechanical invention, no novel idea or sensational innovation could escape incorporation into the Prater. The diverse story-telling in Ulrike Ottinger’s film “Prater” transforms this place of sensations into a modern cinema of attractions. The Prater’s history from the beginning to the present is told by its protagonists and those who have documented it, including contemporary cinematic images of the Prater, interviews with carnies, commentary by Austrians and visitors from abroad, film quotes, and photographic and written documentary materials. The meaning of the Prater, its status as a place of technological innovation, and its role as a cultural medium are reflected in texts by Elfriede Jelinek, Josef von Sternberg, Erich Kästner and Elias Canetti, as well as in music devoted to this amusement venue throughout the course of its history.
But what is the Church of Satan? Who is Anton LaVey? Where is he from? Why does he do that? It does not take much to imagine the worst. Orgiastic ceremonies, where one revels in the blood of virgins, moonlight lamb sacrifices, noise concerts in the basement of a historical building… No, really nothing that amusing among the activities in the Church of Satan. Anton LaVey is nothing like a horned Charles Manson, and his path is all the more unexpected. Nick Bougas allows us to discover the artist, the musician, the philosopher, all through hallucinatory images retrieved from archives, making this rare documentary only two years before the author of the Satanic Bible disappeared.
A medicine show singer finds her love.