Jude Law stars in this underwater thriller directed by Kevin Macdonald. Law stars as Captain Robinson, a seasoned submarine captain who, after losing his crew and his job, learns of an unclaimed bounty of Nazi gold lying in a U-boat at the bottom of the Black Sea. Seeing an opportunity to strike it rich and leave the job behind him once and for all, Robinson acquires the support of a shady businessman and assembles a crew of British and Russian sailors before embarking on the hunt. However, with such a huge pay off on offer, it isn't long before tensions flare on board and some of the crew begin to think about how they can increase their share of the gold...

Terry Winsor directs this American horror starring Lance Henriksen and Emma Catherwood. When backpackers Gina (Catherwood), John (Cian Barry), Stacy (Lisa Livingstone), Geraldine (Jane Perry) and Phil (Michael Smiley) go hiking in the woods of a remote part of India with just their guide Brian (Mike Rogers) to show them the way, their journey is cut short as Geraldine gets bitten by a poisonous spider. As the group seeks a remedy for their friend from an American doctor they are told works in a jungle tribe, they are shocked to find out the true past of Dr. Lecorpus (Henriksen). Will they go ahead with the treatment to save the weary Geraldine?

The history of innovative intermedia art practices in America.   In 1965, American artist and Fluxus cofounder Dick Higgins stated that much of the best art being made at the time fell between media. He linked the dismantling of divisions among media to decompartmentalization in society and the impending dawn of a “classless� society. After high art, he wrote, came the deluge brought on by Marcel Duchamp’s ready-mades, Robert Rauschenberg’s combines, and Alan Kaprow’s happenings. Intermedia, the term Higgins selected to describe this trend, referred to works of art that fuse different, often nontraditional, media. In intermedia, boundaries between mediums dissolve and new mediums emerge. Never a prescriptive term, intermedia remains fluid, both as an artistic practice and an art historical category.   The essays in this volume consider a range of subjects from nineteenth- and twentieth-century American art and visual culture, exploring instances of intermedia within specific cultural, social, and historical contexts and in relation to theories of media, image-making, and materiality. They present a rich account of American artistic practice as an open system of medial interrelation and exchange, highlighting experimental cross-pollinations and mutations among artistic forms.