Those who knew iconic funnyman John Candy best share his story, in their own words, through never-before-seen archival footage, imagery, and interviews.

1971 film by Harry Kümel

A surreal meditation on hopelessness and pointlessness as guided by the Arthur Frain/Merlin character from Boorman’s “Zardoz”.

“Our modern technology has achieved a degree of sophistication beyond our wildest dreams. But this technology has exacted a pretty heavy price. We live in an age of anxiety, a time of stress. And with all our sophistication we are in fact, the victims of our own technological strength. We are the victims of shock … of future shock.” No, this isn’t a quote from a Huffington Post column on the Facebookization of modern communication. Nor is it pulled from an academic treatise on the phenomenologies of post-industrial existence. This statement was made by Orson Welles in the 1972 futurist documentary Future Shock, and, unlike some of the more dated elements of 1970s educational films, Future Shock remains shockingly current in verbalizing the concerns and anxieties that come along with rapid societal and technological change. (Indiana University Libraries Moving Image Archive)

After Lori suffers a stillbirth, her husband Frank obtains a job with a northern California toy company. Frank's new boss, the mysterious Mr. Cato, explains that Frank's position will involve magic. Cato, who seemingly holds enormous influence over the town, pursues the power of necromancy and believes that Lori holds the key that will help him resurrect his own dead son.

An unbroadcast 1958 essay-film by Orson Welles, blending documentary, personal reflection, and cultural portraiture in a subjective study of Italy and actress Gina Lollobrigida.

A surreal silent short composed of symbolic imagery and allegorical tableaux centered on themes of death and mortality.

Orson Welles talks fantasy and magic in this short Vienna travelogue.

Orson Welles — with contributions from scientists George Wald, Carl Sagan, and others — examines the possibility and implications of extraterrestrial life. In examining our perceptions of alien 'martians' from his "War of the Worlds" broadcast, to then-modern explorations of Mars, this film from NASA provides a unique glimpse at life on earth, and elsewhere in the universe.

Speculative "documentary" about alien visitations on Earth, UFO sightings and how aliens are responsible for pretty much every conspiracy theory, paranormal encounter and cryptozoological sighting in history. (Also Jesus. No, really.)

Orson Welles, taking a break from the filming of "Othello," is driving in the Irish countryside one night when he offers a ride to a man with car trouble. The man relays to Welles a strange tale of an encounter he had once before at the same isolated location.

A darkly comic fable about vanity and desire, "The Fountain of Youth" follows a newly married couple whose relationship is destabilized by the arrival of a potion that promises centuries of youth and beauty—but in a quantity sufficient for only one person. As temptation and resentment grow, the gift becomes a catalyst for moral and emotional collapse. Written, directed, and narrated by Orson Welles and based on John Collier’s short story “Youth from Vienna,” the film uses stylized narration and experimental visual techniques to construct a compact essay on human vanity. (Note: Originally produced in 1956 as a television pilot and broadcast once in 1958 as part of NBC’s Colgate Theatre anthology series (S1E5); it later achieved independent archival and cultural status, including a 1958 Peabody Award.)

Two close friends' plan to execute a flawless crime is crushed when one of them inadvertently leaves his glasses at the crime scene.

Wealthy passengers fogged in at London's Heathrow Airport fight to survive a variety of personal trials.

A hypnotist uses his powers for revenge against King Louis XV's court.

Zee is walking up and down Manhattan streets, talking to herself and to the husband who has just left her. At a sidewalk café she runs into Eli, and a very unlikely, funny and touching relationship develops between two lost souls in the big city.

Orson Welles presents a proposed film project to prospective investors in Spain. Speaking to an audience of wealthy arts patrons, Welles outlines his vision for an improvised, documentary-style fiction set in the world of bullfighting, centered on a solitary, existential matador who stands apart from his peers. As he expounds on cinema, performance, and the ritualized spectacle of death, the film captures a project that would ultimately remain unrealized.

A Hollywood film director assembles a group of friends and strangers for a social gathering on Valentines Day in a deserted movie theater where he interviews each one on their opinions on love and loneliness.

An unfinished 1971 film project in which Orson Welles performs readings from Moby Dick against a minimalist blue-screen setting, conceived as a stylized, abstract adaptation but never edited or completed. (Note: Not to be confused with Welles’s separate 1955 filmed stage project Moby Dick—Rehearsed.)

The Late, Great Planet Earth is the title of a best-selling 1970 book co-authored by Hal Lindsey and Carole C. Carlson, and first published by Zondervan. The book was adapted in 1979 into a movie. The Late, Great Planet Earth is a treatment of literalist, premillennial, dispensational eschatology. As such, it compared end-time prophecies in the Bible with then-current events in an attempt to broadly predict future scenarios leading to the rapture of believers before the tribulation and Second Coming of Christ to establish his thousand-year (i.e. millennial) Kingdom on Earth.