When a dancer loses his partner, he goes to the studio to work out his grief. As he's about to give up, his partner appears to him and they have one last dance to say goodbye.
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Matías and Jerónimo know each other since they were just kids. Their friendship is a mix of fun and desire, but everything changes the night they go to the carnival and they see how a group of thugs beat a gay performer behind the scene.
Documentary about rock club in the city of Sverdlovsk, USSR. The title is not connected to the communist ideology, it's a reference to one of China's Four Great Classical Novels. The idea is that the phenomenon of Soviet rock music is as extensive and complicated as the structure of the book. Featuring rock bands: "Агата Кристи", "Чайф", "Наутилус Помпилиус", rock singer Nastya Poleva and her band "Настя"
This comprehensive documentary explores the history and music of legendary San Francisco Bay Area thrash band Vio-Lence. Interviews with band members and insights from fans, friends, journalists and other local metal bands -- including Exodus, Testament, Forbidden and Death Angel -- shed light on both Vio-Lence and the thrash metal scene. Rare video footage shot by band members and tons of live clips from their various eras round out the package.
This was Henri Storck first art documentary, a portrait about the painter, Paul Delvaux.
Documentary about life in post-war socialist Czechoslovakia
Becoming immortal is now at hands reach, thanks to the latest technological innovations. Would you want to become immortal, even if that means preserving your severed head in a cryogenic tank? If aging is considered as a disease, then the cure is immortality.
A bicycle messenger sees a girl being brutally assaulted and dragged into a van. She immediately calls the police, but unfortunately the girl is found too late. It turns out that the murdered girl has been the victim of a serious sexual crime. Detective Inspector Irene Huss and the rest of the team begin to look for the murderer, but have very few clues to go on. When another young girl is murdered in a similar way, the team realizes that they are dealing with a sexual predator. How does he get in touch with the girls? Why do they agree to meet him? Why are they wearing special underwear?
From its shocking opening image of a bridge snapped in two, Zero Position crosses an eerie landscape fractured by dueling Russian separatist and Ukrainian forces. On this cinematic journey, there are no interviews or extensive explanations of the conflict between the opposing sides. Accompanied by an evocative soundscape, the film moves like a ghostly presence through a troubled region, pausing at heavily armed checkpoints and competing front lines. As the camera captures people scurrying past the aftermath of conflict, carrying plastic bags bulging with items gleaned from abandoned homes, we see the stark reality of a people caught in a borderland between East and West. Director Louie Palu's expressive, sparse and poetically delivered voiceover adds context to places the nightly news cameras don't take us, including an old coal mine and a family's home. Through its mood and atmosphere, Zero Position offers us an experiential look at a region on the brink of all-out war.
A series of hilarious, weird, and gross tales that will bring you laughs and chills. A group of friends share scary stories that all happened to them in an attempt to scare each other. But how much of it is real? How much will come back to haunt them?
For the first time, Drew Struzan opens his studio and welcomes us in. This is the only footage shot that shows his entire process, the same techniques he used to create some of his most iconic posters including: Indiana Jones, Star Wars, Back To The Future, Harry Potter, Walking Dead, and so many more. See him actually working, conceiving, drawing, and painting the original movie poster art for HELLBOY. The master reveals all. Hear him explain how, why, and what he is thinking all along the way.
Rami Johnson gets a second chance to right his wrongs of past mistakes not knowing his actions may have consequences.
Thom Andersen (Los Angeles Plays Itself, Red Hollywood) reconsiders the films of Spencer Williams, the pioneering African American screenwriter, director, and actor whose 1940s melodramas centered on sinners and saints—Beale Street mamas and storefront preachers, crime bosses and upwardly striving lawyers and soldiers—who are tempted by jazz and sex and then set back on the glory road to salvation. - MoMA
The oldest profession is no longer a business, Pimps Julio Aldama and Jorege Aldama, decide to give this profession a complete twist. Turning their women into "taxi drivers of love", offering their services on board the taxis.
After discovering the connection between a corrupt city commissioner and Colombian killers, Kojak is framed for the murder of a call girl and is prosecuted by former police detective Crocker, now an assistant D.A.
The film tells the story of the first skyscraper of São Paulo, the Martinelli building, and registers testimonials of its last residents who had to move after São Paulos’ municipality interdiction of the building. It shows the variety of human types and commercial establishments that used to exist inside the traditional building.
Documentary about Cuban education. El planeta de los niños is not a documentary and not a feature film. Sarmiento actually filmed a documentary subject with the mise-en-scène and the cutting of a feature film. Without further ado, she takes the viewer into a world where adults would appear to have died out ; a society within which all functions and professions are held by children with deadly seriousness as if things have always been this way. Only right at the end does Sarmiento reveal that she shot the film at the 'Escuele de Pioneros' set up in Cuba in 1979, an institution which Fidel Castro gave to the children of his people to prepare themselves for a later working life. The film opens with an as-good-as-real wedding ceremony and progresses via a birth to a simulated battle ; from birth to death. The subtle irony with which Sarmiento portrays this 'Utopian' world was not understood by all German critics.
