Frontier Films

A group of mercenaries is hired to spring Rudolf Hess from Spandau Prison in Berlin.

Set in 1980's Australia, this is the true story of a woman whose husband eventually reveals to her that he is an active member of the Nazi party. A real nightmare begins for her.

By the start of World War II, Paul Robeson had given up his lucrative mainstream work to participate in more socially progressive film and stage productions. Robeson committed his support to Paul Strand and Leo Hurwitz’s political semidocumentary Native Land. With Robeson’s narration and songs, this beautifully shot and edited film exposes violations of Americans’ civil liberties and is a call to action for exploited workers around the country. Scarcely shown since its debut, Native Land represents Robeson’s shift from narrative cinema to the leftist documentaries that would define the final chapter of his controversial film career.

Star-crossed lovers, Robert and Ariana, are caught up in the New Zealand wars of the 1860s. Ariana is claimed by the Maniapoto people as one of their own and, despite Robert's chivalrous defence, is taken by them and must help them prepare for war. Robert likewise must do his patriotic duty and enlists to fight on the other side. He volunteers to ride despatch, thinking it may give him an opportunity to see Ariana again, which it does, but their joy is short-lived; Maniapoto women fight beside their men, and furthermore she is a Rangitira (noble) and will not let her people down. The climax is the siege of Oraku Pa where 300 Maori hold off 2000 troops for three days. The Maniapoto are defeated, but Ariana, although wounded, survives to be reunited with Robert.

In 1936 and 1937 Harry Dunham shot "several hundred feet of film," being the first cameraman to penetrate into the Shensi region and obtain footage of the Communist forces in China. He smuggled his film out and placed it in the hands of Frontier Films. Leyda, Lerner, Meyers and Maddow (they had to use pseudonyms) spent four months preparing the film for publication. In that time, the Chinese situation altered to such an extent that Frontier had to change the scenario several times in order to keep up with events...the producers had to make a happy change in the theme of China Strikes Back. It was no longer a film showing the Chinese people moving toward unity. It became a pictorial history revealing the how and why behind a realized unity.

Sam Barlow is a Vietnam veteran who runs a small store that caters to surfers in this action thriller. When his best friend is murdered, Sam takes on the mobsters to avenge the death. With the help of a beautiful blonde, Sam uncovers a sex scandal involving a high-ranking government official. Also implicated are a sadistic soldier of fortune and a corrupt cop who tries to impede the investigation.

The story of a Machiavellian plan hatched by a money-grubbing stepmother to push aside the young lover of her stepdaughter whom she wants to marry a wealthy idiot. The woman devises the most abominable machinations to achieve her ends, going as far as to try and murder her own husband. This melodrama in which evil attempts to prevail over love was adapted from the play THE SPIRIT OF EVIL by Quebec’s prolific playwright of the 40s and 50s Henri Deyglun.

This musical release from legendary stadium rock band REO Speedwagon captures a live performance by the group, recorded at the Moondance Jam in Walker, Minnesota in 2010. Some of the songs featured in the performance include "Don't Let Him Go", "Keep On Loving You", and more.

The first production from Frontier Films, the film production collective that was the successor to NYKino and the Workers Film and Photo League, Heart of Spain focuses on the Spanish Civil War, a conflict that became a touchstone of its era and was the most forceful opposition to the rising threat of fascism in Europe. Heart of Spain was begun by Geza Karpathi and Herbert Kline, who ultimately turned their footage over to Paul Strand, Leo Hurwitz, and Ben Maddow to make the film. It is compelling both for its shrewd formal aesthetics and as a sympathetic human document of the war.