A night with Bahman Mohasses famous Iranian Painter
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An in-depth look at Dirty Harry (1971), featuring interviews with such film artists as Michael Madsen, 'Hal Holbrook', John Milius, 'Shane Black' and John Badham.
The main (super)hero of Beatrice Baldacci’s documentary is a person depicted as the sum of her memories. The story of the director and her family is told in the first person, with home VHS recordings that show both Beatrice’s mother and Beatrice as a child taking on the role of an agent of memory. Outdated technology transforms the events of twenty years ago into an archaeological object.
Time as punishment — of juvenile inmates and bodies that become heavy in prescribed spaces.
Scratches. Cross-outs. Stripes. Arnaud is tirelessly attacking ancient masters' painting reproductions with the tip of his pen. His free and living interlaces highlight shapes and figures.
Short 1964 black-and-white documentary featurette hosted by Sean Connery and featuring the real-life inspiration for the character of Q, Major Geoffrey Boothroyd with a discussion of the gun weaponry used by James Bond.
Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.
A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?
Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.
This documentary film is about one of Georgia's regions - Racha. The title of the film is taken from the name of one of Racha's high mountain villages. It tells about the poorest in society living in the mountains and the rise of the SSSR. The product of a remarkable collaboration between the first Georgian female filmmaker and the leading Georgian avant-garde artist David Kakabadze.
When internationally renowned Haida carver Robert Davidson was only 22 years old, he carved the first new totem pole on British Columbia’s Haida Gwaii in almost a century. On the 50th anniversary of the pole’s raising, Haida filmmaker Christopher Auchter steps easily through history to revisit that day in August 1969, when the entire village of Old Massett gathered to celebrate the event that would signal the rebirth of the Haida spirit.
Karlon, born in Pedreira dos Húngaros (a slum in the outskirts of Lisbon) and a pioneer of Cape Verdean creole rap, runs away from the housing project to which he had been relocated.
Filmmaker Carol Nguyen interviews her own family to craft an emotionally complex and meticulously composed portrait of intergenerational trauma, grief, and secrets in this cathartic documentary about things left unsaid.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
"I especially hope to inspire young women, because I often feel like so much emphasis is put on how beautiful you are, and how thin you are, and not a lot of emphasis is put on what you can do and how smart you are. I'd like to change the emphasis of what's important when looking at a woman." Filmed in San Francisco in 2000, Margaret Kilgallen (1967-2001) discusses the female figures she incorporated into many of her paintings and graffiti tags. Loosely based on women she discovered while listening to folk records, watching buck dance videos, or reading about the history of swimming, Kilgallen painted her heroines to inspire others and to change how society looks at women. Three of Kilgallen's heroines—Matokie Slaughter, Algia Mae Hinton, and Fanny Durack—are shown and heard through archival recordings. Kilgallen is shown tagging train cars with her husband, artist Barry McGee, in a Bay Area rail yard and painting in her studio at UC Berkeley (source: Art21).
'Coffea arábiga' was sponsored as a propaganda documentary to show how to sow coffee around Havana. In fact, Guillén Landrián made a film critical of Castro, exhibited but banned as soon as the coffee plan collapsed.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
In this unique, compelling film, those who knew him speak freely, some for the first time, to reveal the many mysteries of Francis Bacon.
An experimental study of nature through three stories and how we have destroyed it.
Actor/cult icon Bruce Campbell examines the world of fan conventions and what makes a fan into a fanatic.
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