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Told with authenticity and perception, David looks back on the life of a school caretaker in a Welsh mining town, from the marriage and birth of his son more
Told with authenticity and perception, David looks back on the life of a school caretaker in a Welsh mining town, from the marriage and birth of his son to the trauma of a pit accident. David was the first film produced by the BFI, in 1951, and the Welsh selection for the same year’s Festival of Britain screenings in London. close
In "The Lead Shoes", we can neither thrust in our eyes nor our ears to help us understand how time flows or how space is. Therefore, Peterson forces us more
In "The Lead Shoes", we can neither thrust in our eyes nor our ears to help us understand how time flows or how space is. Therefore, Peterson forces us to take both space and time as relative experiences. The consistent disorientation in the film and our consistent inability to perceive them in absolute terms become the main subject of the film. Peterson makes us aware that space and time are more complicated than we think they are and they should be experienced in a more open-minded way. —Yoel Meranda close
A family faces the last night of its eldest member, showing their different ways of dealing with a life's ending. In a surprising manner, overcoming fear more
A family faces the last night of its eldest member, showing their different ways of dealing with a life's ending. In a surprising manner, overcoming fear and taboo, one of them will guide the passing. close
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are more
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males. close
In the center of a monotonous suburban existence, Sarah lives silently and in subservience to her icy husband Patrick. They have been together far too more
In the center of a monotonous suburban existence, Sarah lives silently and in subservience to her icy husband Patrick. They have been together far too long, and Patrick's affections for his wife have all but vanished. Instead, his sexual urges are tempting him to lust after their own son. Realizing how far gone her husband is, Sarah undertakes drastic, shockingly sickening measures to salvage some sense of her life and purge her years of festering resentment. close
While listening to a tedious lecture on the Soviet threat, Wisconsin Dells’ Tuesday Club members fall asleep and find themselves laboring in an all-women more
While listening to a tedious lecture on the Soviet threat, Wisconsin Dells’ Tuesday Club members fall asleep and find themselves laboring in an all-women collective in Russia under the unflinching eye of the Soviet special police close
A brief fantasy tale involving a strange fairy who can produce and deliver babies coming out of cabbages. This film is lost or never existed. Copies of it online are actually the 1900 remake.
A brief fantasy tale involving a strange fairy who can produce and deliver babies coming out of cabbages. This film is lost or never existed. Copies of it online are actually the 1900 remake. close
Serene Velocity stares down the center of an empty institutional hallway while shifting the focal length of a stationary zoom lens, transforming the basement more
Serene Velocity stares down the center of an empty institutional hallway while shifting the focal length of a stationary zoom lens, transforming the basement corridor into a nexus of visual and conceptual energy. close
Jean-Marie Straub's first film after the death of Danièlle Huillet is a love poem to her. Le Genou d'Artémide is based on Cesare Pavese's "Dialogues of more
Jean-Marie Straub's first film after the death of Danièlle Huillet is a love poem to her. Le Genou d'Artémide is based on Cesare Pavese's "Dialogues of Leuco", which had already been adapted by Straub et Huillet as Ces Rencontres Avec Eux (2006). close
A slapstick comedy centered around two neighboring republics, Crogandia and Miremia, and the various disasters that befall the ceremonial unveiling of more
A slapstick comedy centered around two neighboring republics, Crogandia and Miremia, and the various disasters that befall the ceremonial unveiling of a statue, the launching of a ship, and the crash-landing of a Miremian pilot in Crogandian territory. close
Three sequences are linked together in this short film by Straub; the first sequence is a long tracking shot from a car of prostitutes plying their trade more
Three sequences are linked together in this short film by Straub; the first sequence is a long tracking shot from a car of prostitutes plying their trade on the night-time streets of Germany; the second is a staged play, cut down to 10 minutes by Straub and photographed in a single take; the final sequence covers the marriage of James and Lilith, and Lilith’s subsequent execution of her pimp, played by Rainer Werner Fassbinder. "The film is a look entirely at Western decadence" - Jean-Marie Straub. close
[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed more
[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed a struggle between the objective and subjective camera and the optically distorting lenses like the fisheye lens has been a powerful tool for the subjective camera. Here it is at the start. (from IMDB) close
In this all-black cast short, legendary blues singer Bessie Smith finds her gambler lover Jimmy messin' with a pretty, younger woman; he leaves and she sings the blues, with chorus and dancers.
In this all-black cast short, legendary blues singer Bessie Smith finds her gambler lover Jimmy messin' with a pretty, younger woman; he leaves and she sings the blues, with chorus and dancers. close
The Italian duo Ciprì & Maresco, known to be cynical deconstructionists, weave a fascinating film around memories of a decadent Sicily. Ruins, memories more
The Italian duo Ciprì & Maresco, known to be cynical deconstructionists, weave a fascinating film around memories of a decadent Sicily. Ruins, memories of ruins - memories are ruins. This thoroughly surrealist piece unfolds like a dream, with no clear direction but the haunting feeling of familiarity and the ready acceptance of otherness as oneness. close
Annabelle (Whitford) Moore performs one of her popular dances. For this performance, her costume has a pair of wings attached to her back, to suggest more
Annabelle (Whitford) Moore performs one of her popular dances. For this performance, her costume has a pair of wings attached to her back, to suggest a butterfly. As she dances, she uses her long, flowing skirts to create visual patterns. close
Filmed in Chicago & finished in 1959, The Cry of Jazz is filmmaker, composer and arranger Edward O. Bland's polemical essay on the politics of music more
Filmed in Chicago & finished in 1959, The Cry of Jazz is filmmaker, composer and arranger Edward O. Bland's polemical essay on the politics of music and race - a forecast of what he called "the death of jazz." A landmark moment in black film, foreseeing the civil unrest of subsequent decades, it also features the only known footage of visionary pianist Sun Ra from his beloved Chicago period. Featured are ample images of tenor saxophonist John Gilmore and the rest of Ra's Arkestra in Windy City nightclubs, all shot in glorious black & white. close
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