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La fêlure du temps (2000-2003) is the last of the works of Raymonde Carasco focused on the Tarahumara. This epic divided into five chapters (L’Avant is more
La fêlure du temps (2000-2003) is the last of the works of Raymonde Carasco focused on the Tarahumara. This epic divided into five chapters (L’Avant is the first) focuses on the origins and the disappearance of the Tarahumara culture, based on the words of the last shaman. close
Charts a journey through various `memory' productions such as murals, monuments, TV histories, commemorations etc, and in so doing questions the role that historical memory plays in our society.
Charts a journey through various `memory' productions such as murals, monuments, TV histories, commemorations etc, and in so doing questions the role that historical memory plays in our society. close
The film deals with an imigrant woman from southern Italy, who lives in Frankfurt in the 1970s. Unusual about this film is the way of the storytelling. more
The film deals with an imigrant woman from southern Italy, who lives in Frankfurt in the 1970s. Unusual about this film is the way of the storytelling. The original plan was to make a documentary, but none of the female protagonists were willing to be seen in front of the camera. The fear to expose their own family was too big. The law of “omerta” exists in the diaspora as well. A southern italian proverb states: “The girls greatest value is her beauty - the womans greatest value is her silence”. For this reason, in the film only the sound of Maria M. from Basilicata, can be heard. She remains anonemous. In the movie, southern italian emigrants act in Maria's story. In fact, they end up playing themselves, which gives the film several layers and adds a refreshing sense of humor. close
Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket more
Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket as a game, a craft, an interest of a people, a piece of history. The craftsmen are shown who make the ball and the bat–that ‘fourth straight stick’ with which the batsmen defend ‘the other three’. The craftsmen are shown who play the game, from W. G. Grace in the ‘nets’ to D. G. Bradman and Denis Compton in the thread of the ‘Test’. The history of the game is epitomized in the Long Room shots at Lord’s and from there the camera moves to the village green; to the London side- street where the urchins play on a ‘bumping pitch’; to South Africa, and India, where in the ‘blinding light’ there is often ‘an hour to play and the last man in. close
In 1990, Robert Kramer receives a grant from the Ford Foundation. He goes to Berlin for 6 months, where he makes an hour long single video shot (for a more
In 1990, Robert Kramer receives a grant from the Ford Foundation. He goes to Berlin for 6 months, where he makes an hour long single video shot (for a festival) in the bathroom of his apartment. Facing the camera, the filmmaker thinks, alone, about the fall of the Berlin wall. "I've already spent 6 weeks here. With all the events in eastern Europe, it was like a hurricane. Berlin is a city where you feel the biggest changes, where you meet Polish immigrants, or others, escaping. Berlin will become a very violent city. What happens in eastern Europe is a bit like the end of the civil war in the US. The North, and all it's power stimulated by years of war, took over the South, who has lost everything. And there is this German past, the war, on all levels. close
Perhaps this is Robert Vas' most personal film; a portrait of his country - Hungary - as seen through the eyes of an exile. Robert Vas escaped from his more
Perhaps this is Robert Vas' most personal film; a portrait of his country - Hungary - as seen through the eyes of an exile. Robert Vas escaped from his homeland after the brutal crushing of the 1956 Hungarian Uprising by the Russians and he was never able to return. He portrays his country through the writings of Hungary's national poets and illustrates the film with images of the Revolution and of the society it would become in the years immediately following 1956. The film was transmitted on the 20th anniversary of the crushing of the uprising. close
A travelogue shot on 35 mm by Walter and Aloha Wanderwell, capture the 1920 era’s ongoing enthrallment with the speed and range offered by motorized wheels.
A travelogue shot on 35 mm by Walter and Aloha Wanderwell, capture the 1920 era’s ongoing enthrallment with the speed and range offered by motorized wheels. close
Narmada: A Valley Rises is beautifully photographed, inspiring film. It documents a 200 kilometer non-violent Gandhian march involving 6000 participants. more
Narmada: A Valley Rises is beautifully photographed, inspiring film. It documents a 200 kilometer non-violent Gandhian march involving 6000 participants. The film offers a compelling and intimate portrait of a unique movement while raises critical and universal issues of human-rights, social justice, and development within a democracy. close
The result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean, and a crab trap. For three days in January and three days more
The result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean, and a crab trap. For three days in January and three days in October of 1997, and again, for a day, in August of 1998, lengths of unexposed, undeveloped film were soaked in a crab cage on a South Carolina beach. Both the sound and image are the result of the ensuing oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand, rocks and shells. close
The continuing demand for high standards is what sets Rouseau's work apart. What makes this film distinctive is the way Rousseau explicitly returns to more
The continuing demand for high standards is what sets Rouseau's work apart. What makes this film distinctive is the way Rousseau explicitly returns to the source of his creative inspiration. So here he is at home reciting «Bérénice» to himself, whilst going about his household chores. It verges on the comical: There are repeated shots of him obstinately trying to turn off a dripping tap, or the jubilant close up of bare feet carried away in performing a dance step or two. Combining art with life in such a way, that nothing is compartmentalised, nothing lost - that is the goal. close
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting more
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting rich diagonals in the early morning or late afternoon. Each shadow is a subtle balance of stillness and movement; it shows the vital instability of space. Its special quality opens a passage to the subjective; a voice within the film speaks to memory. The walls are screens through which I pass to the inhabited privacy. We experience a place through the perspective of where we come from and hear another's voice through our own acoustic. The sense of place is never separate from the moment." – R.B. close
A collection of home movies filmed from 1948-1951 featuring the legendary entertainer Cab Calloway and his wife Nuffie in their home on Long Beach and more
A collection of home movies filmed from 1948-1951 featuring the legendary entertainer Cab Calloway and his wife Nuffie in their home on Long Beach and on their travels across both of the Americas. close
On April Fool's Day, 1989, a man crossing the road between two garage sales was hit by a car and thrown into a state between life and death. Nine years more
On April Fool's Day, 1989, a man crossing the road between two garage sales was hit by a car and thrown into a state between life and death. Nine years later, his daughter uses her camera to try and understand both the absent moment and its lasting impact on her family, Russian immigrants marooned in Colorado. close
Roma and Sinti people talk about their experiences in the Third Reich and the Federal Republic of Germany, inspired by Otto Pankok’s paintings of Romani more
Roma and Sinti people talk about their experiences in the Third Reich and the Federal Republic of Germany, inspired by Otto Pankok’s paintings of Romani theme and subject in the 1930s, declared degenerate art by the Nazis. These are moving narratives of persecution, discrimination, marginalisation, of life as second-class human beings, all of which lasts, incredibly enough, right up to the allegedly democratic present day of the film, since they live in inhumane conditions in barracks at the margins of cities and society and are not officially recognised as Nazi victims. Long, nearly uncut sequences open space for the people and their stories. That’s all it takes for one of Peter and Zsóka Nestler’s most important works. close
Bwana Kitoko (swa. 'handsome young man') is a 1955 Belgian documentary directed by André Cauvin. It shows the official visit of king Baudouin of Belgium to the Congo and Ruanda-Urundi.
Bwana Kitoko (swa. 'handsome young man') is a 1955 Belgian documentary directed by André Cauvin. It shows the official visit of king Baudouin of Belgium to the Congo and Ruanda-Urundi. close
Miners in a Bosnian coal mine. The camera silently watches over the miners working tirelessly amidst endless noise and the flickering light of lanterns.
Miners in a Bosnian coal mine. The camera silently watches over the miners working tirelessly amidst endless noise and the flickering light of lanterns. close
Gil Cardinal searches for his natural family and an understanding of the circumstances that led to his becoming a foster child. An important figure in more
Gil Cardinal searches for his natural family and an understanding of the circumstances that led to his becoming a foster child. An important figure in the history of Canadian Indigenous filmmaking, Gil Cardinal was born to a Métis mother but raised by a non-Indigenous foster family, and with this auto-biographical documentary he charts his efforts to find his biological mother and to understand why he was removed from her. Considered a milestone in documentary cinema, it addressed the country’s internal colonialism in a profoundly personal manner, winning a Special Jury Prize at Banff and multiple international awards. close
Asylum is a film very much derived from chaos, expressing implicitly the ideas conjured up by its title. A strange mix of both documentary and fiction, more
Asylum is a film very much derived from chaos, expressing implicitly the ideas conjured up by its title. A strange mix of both documentary and fiction, where in the future a group of people are looking back at the twentieth century. A virus has wiped out most of the culture of the twentieth century, leaving just fragments of a project called 'The Perimeter Fence' to be pieced together. These fragments make up a documentary about an exiled group of disparate yet similar minds. close
In this documentary Volker Koepp shows part of the history of Prussia. He begins 700 years ago with the land of the Pruzzen situated between the rivers more
In this documentary Volker Koepp shows part of the history of Prussia. He begins 700 years ago with the land of the Pruzzen situated between the rivers Weichsel and Memel and proceeds the development of the state. close
Morbihan is one of the poorest regions in Brittany. Joseph, a 33-year-old farmer, can no longer live off the land. He is hired at the fancy new plant more
Morbihan is one of the poorest regions in Brittany. Joseph, a 33-year-old farmer, can no longer live off the land. He is hired at the fancy new plant that has just opened where he enters a world of rote work. Fortunately he can go home to his farm every evening, far from the large urban centers where workers must usually live. close
"Director Yolande du Luart had been involved in Lettrist circles in France before decamping for California to study film at UCLA, where her classmates more
"Director Yolande du Luart had been involved in Lettrist circles in France before decamping for California to study film at UCLA, where her classmates included Charles Burnett and Haile Gerima. During this time, UCLA professor Angela Davis was a subject of increasing scrutiny after coming out as a Communist, provoking the ire of administrators and governor Ronald Reagan. Believing that Davis would be an ideal film subject, du Luart immediately began making a documentary, though she would ultimately return to France to complete the project after receiving unwanted attention from the FBI. “Over the course of events,” writes Nicole Brenez, “this appreciative and sensitive portrait of a politically engaged philosopher had been transformed into a call for the liberation of an imprisoned activist and an internationalist revolutionary manifesto.”" - Film at Lincoln Center close
I Was a Jewish Sex Worker is a humorous, no-holds-barred autobiographical film about the director’s former career as a sex worker and his relationship more
I Was a Jewish Sex Worker is a humorous, no-holds-barred autobiographical film about the director’s former career as a sex worker and his relationship with his Jewish family. From graphic, erotic massages to a revealing interview with his grandmother, Roth tells a unique tale and explores themes of sexual wellness, connection and self-realization. Featuring guest appearances by German filmmaker Rosa von Praunheim and sexologist/performer Annie Sprinkle. close
Margaret Tait documents her house, studio and garden in Buttquoy, Orkney as the seasons pass. She had lived there from the age of seven and often returned. more
Margaret Tait documents her house, studio and garden in Buttquoy, Orkney as the seasons pass. She had lived there from the age of seven and often returned. At the time of filming, the house was about to be taken back by the council - this film is an effective 'goodbye'. Margaret Tait said it 'was meant to define a place, or the feeling of being in one place, with the sense this gives one, not of restriction but of the infinite variations available.' close
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