Claire tells the police officer, “It was all Jo’s idea.” But who’s Jo? Jo is the bright spark in Claire’s recently darkened reality; a new friend in an otherwise isolated world. The two young women hit the town to let off some steam-and find themselves in trouble with local law enforcement. In the blink of an eye, Claire discovers that Jo is not what she seems-not at all-and her easy friendship with the lighthearted, young woman splits open to reveal the truth. Luminously shot in black and white, Josephine Doe is a raw exploration of family trauma and mental health that shows the thin line between our realities.

Josephine has her eye on Joe, a hot-headed, petty criminal who taps phones for a living. When she finally worms her way into his heart she realises it’s not a nice place to be. But is it too late?

An epic that details the checkered rise and fall of French Emperor Napoleon Bonaparte and his relentless journey to power through the prism of his addictive, volatile relationship with his wife, Josephine.

In 1877, in a watch factory in a valley in north-western Switzerland, Josephine produces balance spindles, tiny parts that ensure the agitation movement (“unrueh”) of the mechanical watches. She soon grows uneasy with the organisation of work and possession in the village and its factory and joins the anarchist worker movement of the local watchmakers. There she meets Piotr Kropotkin, a moony Russian traveller. The two of them meet at a time when new technologies such as time measurement, photography and the telegraph are transforming the social order and anarchist discourse is addressing emerging nationalism. During a walk in the woods, Josephine and Piotr ask themselves whether time, money and the government are not all but fictions.

CHOIR GIRL is a gritty drama about a lonely photographer, Eugene, who becomes obsessed with an underage prostitute, Josephine, in his rundown neighbourhood. She has escaped a worn-torn country only to be trapped in the illegal sex trade by corruption and a powerful underworld criminal named Daddy. Yet for Eugene, Josephine represents a symbol of purity in the darkness – when he takes her photograph there is something captivating about her and she quickly becomes his muse.

Early in her life, Josephine Malone learned the hard way that there was only one person she could love and trust: her grandmother, Lydia Malone. Out of necessity, unconsciously and very successfully, Josephine donned a disguise to keep all others at bay. She led a globetrotting lifestyle on the fringes of the fashion and music elite, but she kept herself distant. While Josephine was trotting the globe, retired boxer Jake Spear was living in the same small town as Lydia. There was nothing disguised about Jake. Including the fact he made a habit of making very bad decisions about who to give his love. But for Josephine and Jake, there was one person who adored them. One person who knew how to lead them to happiness. And one person who was intent on doing it. Even if she had to do it as her final wish on this earth.

“Tormenting the Hen” a caustic satire of city mice in the world of country mice, where well-meaning cosmopolites clash with strange townsfolk in country homes, black-box theaters, backyards, and local pubs. Invited by a dippy, curator (Josephine Decker), playwright Claire (Dameka Hayes) is spirited away to an artists’ retreat to present a political one-act about race, resentment, and masculinity. Accompanied by her fiancé, Monica (Carolina Monnerat), begins as a welcome getaway for the harried pair, until an unexpected visit from town enigma Mutty (Matt Shaw) casts a threatening shadow. While Claire plays babysitter to a duo of difficult performers Joel (Brian H. Brooks) and Adam (David Malinsky) Monica attempts to maintain her sanity despite her lover’s decreasing attentions and her neighbor’s proximity. Each woman struggles to preserve her autonomy in an increasingly hostile milieu, building to a soul-shaking climax that offers no easy answers for character and viewer alike.

Set in the south Texas town of Sucio Sangre near the vicious Mexican border, BLOOD SOMBRERO stars Billy Blair as a nameless thief hired by the ruthless crime lord Lucifer (Nick Gomez) to find a strange box with unknown contents. Meanwhile a mysterious yet violent girl named Josephine (Paula Solinger) holds the box while on the run from the deranged cult she once belonged to. Hot on her trail are two crooked cops (Fred Doss and Stephen Brodie) and a psychotic bounty hunter named Coffin. Their paths ultimately collide in an explosion of blood soaked chaos, leaving our anti-heroes to decide whether this box is worth their lives.

Derrick De Marney finds himself in a 39 Steps situation when he is wrongly accused of murder. While a fugitive from the law, De Marney is helped by heroine Nova Pilbeam, who three years earlier had played the adolescent kidnap victim in Hitchcock’s The Man Who Knew Too Much. The obligatory “fish out of water” scene, in which the principals are briefly slowed down by a banal everyday event, occurs during a child’s birthday party. The actual villain, whose identity is never in doubt (Hitchcock made thrillers, not mysteries) is played by George Curzon, who suffers from a twitching eye. Curzon’s revelation during an elaborate nightclub sequence is a Hitchcockian tour de force, the sort of virtuoso sequence taken for granted in these days of flexible cameras and computer enhancement, but which in 1937 took a great deal of time, patience and talent to pull off. Released in the US as The Girl Was Young, Young and Innocent was based on a novel by Josephine Tey.

During World War I, small-town girl Josephine Norris has an illegitimate son by an itinerant pilot. After a scheme to adopt him ends up giving him to another family, she devotes her life to loving him from afar.

Greenland, 1908. Josephine, self-confident and bold wife of famous Arctic explorer Robert Peary, embarks on a dangerous journey in pursuit of her husband who is seeking a route to the North Pole. But Josephine is also naïve and ignores warnings from experienced polar travellers about the onset of winter. At great sacrifice the expedition reaches Peary’s base camp. Josephine refuses to go home and wants to spend winter in the hut. Only the young Inuit woman Allaka, who lives in an igloo and knows about the cold, stays with her. As the long nights draw nearer, Josephine realises she has more in common with this woman from a different world than she thought.

Kessler’s lab was created to run drug trials to determine what went wrong with a once popular mood stabilizing drug. Dr. Martin Kessler cloned his own daughter, who died from the drug. Once with ten test subjects, he and Dr Josephine Vanderhill are now left with only a few dying, sick clones, and one healthy placebo, Jenny. Daniel Powell runs the day to day operations and tends to the clones, administering the very drug that is killing them. When Dr. Kessler unexpectedly dies, instead of shutting down the facility, Dr Vanderhill wants to intensify the testing. She targets Jenny, and convinces Daniel to administer the pills in highly concentrated doses, sure to be fatal. Now conflicted, Daniel is determined to stop her and save the clones.

Young Charlie begins to develop a case of cold feet as his upcoming wedding looms nearer. Desperate to throw the wedding plans off the track, Charlie tries a variety of tactics, including attempting to rekindle the relationship between his fiancée Josephine and a former boyfriend, to flee the scene

Based on a true story, this is the tale of Josephine Monaghan, a young woman of the mid-19th century who is thrown out of her parents’ home after being seduced by the family’s portrait photographer and giving birth to an illegitimate child. Josephine quickly learns that young, female, pretty, and alone are a bad combination for life in the wild west. In her desperation to survive, Josephine disguises herself as “Jo”, a young man, and struggles to make a life for herself in a dingy frontier mining town. Can “Little Jo” live and love without revealing his/her secret?

A compilation of primarly Laurel and Hardy shorts—From Soup to Nuts, Wrong Again, Putting the Pants on Philip, The Finishing Touch, Sugar Daddies and short clips from others—plus Max Davidson’s Call of the Cuckoo and Dumb Daddies, with some cross-over Charley Chase footage, which, along with Robert Youngson’s previous “The Golden Age of Comedy”, “When Comedy Was King”, “Days of Thrills and Laughter”, led to a renewed interest in and a revival of television showings of Laurel and Hardy shorts. The cast was billed in order of their appearance: Oliver Hardy, Stan Laurel, Vivien Oakland (with a Vivian typo), Glen Tyron, Edna Murphy, Anita Garvin, Tiny Sanford, Jimmy Finlayson, Charlie Chase, Viola Richard, Max Davidson, Del Henderson, Josephine Crowell, Anders Randolf (as Anders Randolph), Edgar Kennedy, Dorothy Coburn, Lillian Elliott and “Spec” O’Donnell.