[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"title-movie-634712-en-US":3},{"detail":4,"match":224,"insight":225,"providers":226,"providerLink":25,"trailer":25},{"id":5,"adult":6,"title":7,"video":6,"budget":8,"genres":9,"status":10,"videos":11,"credits":13,"imdb_id":25,"revenue":8,"runtime":26,"similar":27,"tagline":210,"homepage":210,"overview":211,"softcore":6,"popularity":212,"vote_count":8,"poster_path":213,"release_date":214,"vote_average":8,"backdrop_path":25,"origin_country":215,"original_title":7,"watch\u002Fproviders":217,"spoken_languages":219,"original_language":38,"production_companies":220,"production_countries":221,"belongs_to_collection":25},634712,false,"Penny Bright & Jimmy Witherspoon",0,[],"Released",{"results":12},[],{"cast":14,"crew":15},[],[16],{"id":17,"job":18,"name":19,"adult":6,"gender":20,"credit_id":21,"department":22,"popularity":23,"profile_path":24,"original_name":19,"known_for_department":22},1098558,"Director","Robert Nelson",2,"5d8e9f52172d7f001f5508f1","Directing",0.5582,"\u002FmZ6rnSsoNwAylw71LougAInj8vw.jpg",null,5,{"page":28,"results":29,"total_pages":208,"total_results":209},1,[30,39,53,64,74,83,91,99,113,120,128,136,143,151,160,168,174,182,192,200],{"id":31,"adult":6,"title":32,"video":6,"overview":33,"softcore":6,"genre_ids":34,"popularity":35,"vote_count":8,"poster_path":36,"release_date":37,"vote_average":8,"backdrop_path":25,"original_title":32,"original_language":38},465127,"Square Inch Field","A rapid fire montage, a dynamic juxtaposition of the world’s vital and destructive forces, the title originating from a Chinese text which refers to the Third Eye. Close up shots of the various faces open and close the film, the very last shot holding on the innocent face of a young child.  Preserved by the Academy Film Archive in 2014.",[],0.5447,"\u002Fs9SiimAARMGGlKQzoszxNnNCS5P.jpg","1968-01-01","en",{"id":40,"adult":6,"title":41,"video":6,"overview":42,"softcore":6,"genre_ids":43,"popularity":47,"vote_count":48,"poster_path":49,"release_date":50,"vote_average":51,"backdrop_path":52,"original_title":41,"original_language":38},16093,"Carnival of Souls","Mary Henry ends up the sole survivor of a fatal car accident through mysterious circumstances. Trying to put the incident behind her, she moves to Utah and takes a job as a church organist. But her fresh start is interrupted by visions of a fiendish man. As the visions begin to occur more frequently, Mary finds herself drawn to the deserted carnival on the outskirts of town. The strangely alluring carnival may hold the secret to her tragic past.",[44,45,46],27,9648,14,3.6336,557,"\u002FAdbQsFB8pS090l0NO3uBtLZy2zw.jpg","1962-11-02",6.945,"\u002FesIoQw7VaykfHsw6fx2VltZ1R7U.jpg",{"id":54,"adult":6,"title":55,"video":6,"overview":56,"softcore":6,"genre_ids":57,"popularity":59,"vote_count":28,"poster_path":60,"release_date":61,"vote_average":62,"backdrop_path":63,"original_title":55,"original_language":38},292995,"The Big Show","The Big Show, the only feature-length motion picture produced by the Miller Brothers, is a behind-the-scenes melodrama set within their show. The story: Bill, a war veteran who has been defrauded by his brother, rescues Ruth, the elephant girl, and joins the company. Secretly engaged to Bill’s “bad brother” Norman—allegedly an oil millionaire—Ruth rebuffs her rescuer’s affection. Her elephant, however, knows a villain when he smells one and eventually gives Norman his just deserts.  Preserved by the Academy Film Archive in partnership with the National Film Preservation Foundation New Zealand Project in 2012.",[58],18,1.0784,"\u002F2h36pI4eEmaCHEprCXB0bffd7NP.jpg","1926-10-15",10,"\u002F6JowboLkxvFwkhT0fZ14wXBhlLb.jpg",{"id":65,"adult":6,"title":66,"video":6,"overview":67,"softcore":6,"genre_ids":68,"popularity":70,"vote_count":8,"poster_path":25,"release_date":71,"vote_average":8,"backdrop_path":25,"original_title":72,"original_language":73},480084,"Between East and West","Short by Stuart Schulberg.  Preserved by the Academy Film Archive.",[69],99,0.7192,"1949-06-09","Zwischen Ost und West","de",{"id":75,"adult":6,"title":76,"video":6,"overview":77,"softcore":6,"genre_ids":78,"popularity":79,"vote_count":80,"poster_path":25,"release_date":81,"vote_average":82,"backdrop_path":25,"original_title":76,"original_language":38},293045,"Her First Kiss","Her First Kiss, where the glamorous Ethel Teare trades her fancy gowns for the rough attire of Minnie Spuds, the gawky farm girl who Chester tries to swindle. Whether dangling from a ladder, teetering over a cliff in a horse-and-buggy, or wielding a mop, Minnie may be from the sticks but never misses a beat.  Preserved by the Academy Film Archive, New Zealand Project, in partnership with Twentieth Century Fox Film Corporation in 2013.",[],0.8515,3,"1919-08-30",6,{"id":84,"adult":6,"title":85,"video":6,"overview":86,"softcore":6,"genre_ids":87,"popularity":88,"vote_count":8,"poster_path":89,"release_date":90,"vote_average":8,"backdrop_path":25,"original_title":85,"original_language":38},293049,"Mules and Gob Talk","The surviving print of Mules and Gob Talk (the original introduction is missing) begins with spectacular vistas of Yellowstone National Park and majestic herds of buffalo (“a snooty lot” in the intertitles) and ends with “wild” deer being fed by tourists and foraging in garbage cans.  Preserved by the Academy Film Archive in partnership with the National Film Preservation Foundation, New Zealand Project, in 2012.",[],0.6468,"\u002F1d0sFmS4f72pX2hrHoSJl5Inrbo.jpg","1920-09-15",{"id":92,"adult":6,"title":93,"video":6,"overview":94,"softcore":6,"genre_ids":95,"popularity":96,"vote_count":28,"poster_path":25,"release_date":97,"vote_average":98,"backdrop_path":25,"original_title":93,"original_language":38},293065,"Kick Me Again","Don’t expect much in the way of a plot from Kick Me Again. When a married student falls for her portly dance instructor, Puffy is forced to flee in a ballet tutu from the clutches of her jealous husband. The usual slapstick complications ensue before the cross-dressing funnyman finally locates a new suit of clothes. The viewing pleasure comes not from the run-of-the-mill gags and storyline but from seeing a master wring every ounce of comedy from his ungainly outfit.  Preserved by the Academy Film Archive, in partnership with Universal Pictures, in 2013.",[],0.6392,"1925-11-24",9,{"id":100,"adult":6,"title":101,"video":6,"overview":102,"softcore":6,"genre_ids":103,"popularity":105,"vote_count":106,"poster_path":107,"release_date":108,"vote_average":109,"backdrop_path":110,"original_title":111,"original_language":112},35790,"Charulata","In 1870s India, Charulata is an isolated, artistically inclined woman who sees little of her busy journalist husband, Bhupati. Realizing that his wife is alienated and unhappy, he convinces his cousin, Amal, to spend time with Charulata and nourish her creative impulses. Amal is a fledgling poet himself, and he and Charulata bond over their shared love of art.",[58,104],10749,3.3935,159,"\u002Fei2YaCcnUBudyc6BQSc6mpCSJTx.jpg","1964-04-17",7.5,"\u002FhXYf2k0igWcfReM98949EVTfSgP.jpg","চারুলতা","bn",{"id":114,"adult":6,"title":115,"video":6,"overview":116,"softcore":6,"genre_ids":117,"popularity":118,"vote_count":28,"poster_path":25,"release_date":119,"vote_average":62,"backdrop_path":25,"original_title":115,"original_language":38},655309,"Seeing Them Through","Documentary short film reporting on the activities of the American Red Cross and the useage made of contributed funds for the previous year.  Preserved by the Academy Film Archive in 2012.",[69],0.6223,"1945-02-01",{"id":121,"adult":6,"title":122,"video":6,"overview":123,"softcore":6,"genre_ids":124,"popularity":125,"vote_count":8,"poster_path":126,"release_date":127,"vote_average":8,"backdrop_path":25,"original_title":122,"original_language":38},297535,"Back in the Saddle Again","A found footage film that innocently plays with many of the elements I explore in my own work. A family's playful interaction with a 16mm sound movie camera, singing along as a group with Gene Autrey's title song in front of the camera, combines western fantasy, American kitsch, gender posturing, deterioration of the film's surface, the wonderment of the cinematic process, and the use of controlled accidents to shape the form of the film. My only intrusion on the footage was to print it first in negative, which adds a mysterious, ghostly edge to it, and to print it again in positive, which seems to answer many of the questions raised in the first version.  Preserved by the Academy Film Archive in 2013.",[],0.585,"\u002Fu7TqcPWSlIWXQQx1xLUxmeI17JE.jpg","1997-01-01",{"id":129,"adult":6,"title":130,"video":6,"overview":131,"softcore":6,"genre_ids":132,"popularity":133,"vote_count":8,"poster_path":134,"release_date":135,"vote_average":8,"backdrop_path":25,"original_title":130,"original_language":38},297536,"Money","Experimental short 16mm film directed by Mike Henderson.  Preserved by the Academy Film Archive in 2010.",[],1.4689,"\u002FxbCza36rseQKwxaBcMMXsud7eE4.jpg","1970-01-01",{"id":137,"adult":6,"title":138,"video":6,"overview":139,"softcore":6,"genre_ids":140,"popularity":141,"vote_count":8,"poster_path":25,"release_date":142,"vote_average":8,"backdrop_path":25,"original_title":138,"original_language":38},297537,"Picasso","“When Picasso died I wanted to make the first post-mortem documentary, as I knew would happen anyway, and cheaply. The film took four hours to finish from camera to print and cost a little under $5.\"  Preserved by the Academy Film Archive in 2008.",[],0.8163,"1973-04-08",{"id":144,"adult":6,"title":145,"video":6,"overview":146,"softcore":6,"genre_ids":147,"popularity":148,"vote_count":8,"poster_path":149,"release_date":150,"vote_average":8,"backdrop_path":25,"original_title":145,"original_language":38},297539,"Cube and Room Drawings","Cube and Room Drawings begins with a view looking down at an angle toward grey paper covering the floor. A performer enters from the back of the scene and begins drawing lines on the floor. The lines are the beginning of a drawing of a distorted cube. The performer leaves the scene. The paper begins to rotate on the floor. As the paper rotates the cube gradually becomes correctly oriented, as if it were drawn on a vertical piece of paper. The performer enters again and draws another cube that corresponds to the perspective of the other cube. After leaving and re-entering the performer draws red receding lines on the floor. He leaves and the paper rotates and the red lines become a grid that corresponds to the vertical screen. The film continues with several additional actions that continue this theme.  Preserved by the Academy Film Archive in 2012.",[],0.4512,"\u002Fo2LTMFdygfQCeAGDZPHs9NSV0Vw.jpg","1976-01-01",{"id":152,"adult":6,"title":153,"video":6,"overview":154,"softcore":6,"genre_ids":155,"popularity":156,"vote_count":20,"poster_path":157,"release_date":158,"vote_average":109,"backdrop_path":159,"original_title":153,"original_language":38},297719,"The Chair","Follows a crusading lawyer as he embarks on a campaign to save an African-American man, Paul Crump, from the electric chair.  Preserved by the Academy Film Archive in partnership with The Film Foundation in 2007.",[69],0.7185,"\u002FfuZ5E6M2VTx904UkJTNC7usuwto.jpg","1963-08-24","\u002FlYEPJGUKIg9Ga2STfIKaAUzMcy0.jpg",{"id":161,"adult":6,"title":162,"video":6,"overview":163,"softcore":6,"genre_ids":164,"popularity":165,"vote_count":8,"poster_path":166,"release_date":167,"vote_average":8,"backdrop_path":25,"original_title":162,"original_language":38},298148,"Aether","A sci-fi\u002Foccult\u002Fpsychedelic performance film set to an original soundtrack by Rhys Chatham.  Preserved by the Academy Film Archive in 2011.",[],0.561,"\u002Fek7EediDS53ztgd2nCOrEttMZmm.jpg","1972-03-14",{"id":169,"adult":6,"title":170,"video":6,"overview":171,"softcore":6,"genre_ids":172,"popularity":173,"vote_count":8,"poster_path":25,"release_date":150,"vote_average":8,"backdrop_path":25,"original_title":170,"original_language":38},298149,"Our Lady of the Angels Part 1: Entrance Entrance","The inevitable subjectivity and diaristic potential of landscape is foregrounded in this semi-structuralist work of weird poetic beauty.  Preserved by the Academy Film Archive in 2013.",[],0.4392,{"id":175,"adult":6,"title":176,"video":6,"overview":177,"softcore":6,"genre_ids":178,"popularity":179,"vote_count":28,"poster_path":180,"release_date":181,"vote_average":98,"backdrop_path":25,"original_title":176,"original_language":38},298150,"Kristallnacht","A bewitching, mysterious work of enveloping beauty, the film’s ominous title and a dedication to Anne Frank deeply inform our reading of its haunting subtext.  Preserved by the Academy Film Archive, in partnership with the National Film Preservation Foundation, in 2009.",[69],1.3422,"\u002F2OogW0man3B5tmNaW860unWJRrw.jpg","1979-11-16",{"id":183,"adult":6,"title":184,"video":6,"overview":185,"softcore":6,"genre_ids":186,"popularity":187,"vote_count":26,"poster_path":188,"release_date":189,"vote_average":190,"backdrop_path":191,"original_title":184,"original_language":38},298151,"I Don't Know","A truly major work, I Don’t Know observes the relationship between a lesbian and a transgender person who prefers to be identified somewhere in between male and female, in an expression of personal ambiguity suggested by the film’s title. This nonfiction film – an unusual, partly staged work of semi-verité – is the first of Spheeris’s films to fully embrace what would become her characteristic documentary style: probing, intimate, uncompromising.  Preserved by the Academy Film Archive in 2014.",[69,58],1.5014,"\u002FcsfAszr7Lo9nZ3Bp52HqDbTU1zx.jpg","1971-11-09",4.4,"\u002F7tE8kLPzBugMncpXkoANO66AMjW.jpg",{"id":193,"adult":6,"title":194,"video":6,"overview":195,"softcore":6,"genre_ids":196,"popularity":197,"vote_count":8,"poster_path":198,"release_date":199,"vote_average":8,"backdrop_path":25,"original_title":194,"original_language":38},298146,"Projection Instructions","Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportunity.  Preserved by the Academy Film Archive in 2014.",[],0.9954,"\u002FjqyyJmfIn56xUZfo9wd2Pq5LwzM.jpg","1976-06-13",{"id":201,"adult":6,"title":202,"video":6,"overview":203,"softcore":6,"genre_ids":204,"popularity":205,"vote_count":8,"poster_path":206,"release_date":207,"vote_average":8,"backdrop_path":25,"original_title":202,"original_language":38},298147,"Venusville","No montage, no human subjects, minimal visual content, and the artists basically pissing on the fourth wall by calling attention in every way possible to the artifice of what they’re doing.  Preserved by the Academy Film Archive in 2009.",[],1.2829,"\u002FsEAYLQYtLIQfGnWIl53VoShzhjv.jpg","1973-01-01",36,711,"","Nelson sets minimal, repetitive imagery against a looping recording of his daughter Oona, which goes gradually from sweet to curious to mysterious to cacophonous as the loops overlap each other. Since its premiere alongside The Great Blondino and other shorts in April 1967, the film has rarely been seen. It stands out as a more textural piece from Nelson, which, rather than retreating into pure abstraction or bland trippiness, subtly transmits an undercurrent of its ominous source material. —Mark Toscano.  Preserved by the Academy Film Archive in 2010.",0.5964,"\u002F5L5r9pVFKCknZXVOmCfK7RJRlEC.jpg","1967-01-01",[216],"US",{"results":218},{},[],[],[222],{"name":223,"iso_3166_1":216},"United States of America",45,"Penny Bright & Jimmy Witherspoon sits in the sweet spot of what works for tonight.",[]]