On Inauguration Day 2017, the filmmaker spent all day in a Washington, DC, used bookstore, where he bought a stack of audiotape secret telephone recordings of marital infidelity from 1969. At the Women’s March, he recognized the cosmic resonance of the phone with all that was happening.
On Inauguration Day 2017, the filmmaker spent all day in a Washington, DC, used bookstore, where he bought a stack of audiotape secret telephone recordings of marital infidelity from 1969. At the Women’s March, he recognized the cosmic resonance of the phone with all that was happening.
2018-10-10
6.5
Eleven-year-old Alice lives on a ranch with her father, her favorite horse and confidante, Red, and the love of Red's life, Molly.
The deconstruction of the Avatar scenes and sets
A music clip OVA using full versions of songs that were from the anime.
Pereda returns with a small, mysterious and moving tribute to Chantal Akerman, conceived as a series of joyful impossible letters addressed to the great disappeared from the cinema, to answer her fictional question about renting her bright apartment in Coyoacán.
An inside look at one of the most anticipated movie sequels ever with James Cameron and cast.
A hired assassin unknowingly makes friends with the man he's been sent to murder.
A gay teenager is haunted by a shadowy presence while his parents are getting a divorce, he can't seem to convey his emotions to his best friend or make his family listen. His world is turned upside down when the shadow reveals to him a darker secret his family keeps to him.
A Harvard man fights a railroad baron with a disguise and the power of the press.
A seductive witch kills men by casting a spell on them. A bunch of friends are trapped in a haunted house with mysterious lady. Is she the Chudail?
After a shrimp-fingered incel discovers a passion for AI Art, his compulsion to create monsters bleed far beyond his computer screen.
Mr. An is almost 90 years old. He loves life, dance and the smiling young Xiao Wei, his daily life companion. His wife, secluded at home, is quite unhappy about this friendly and love relationship. Xiao Wei’s husband doesn’t seem to care. One morning Mr. An get sick and has to be hospitalized. Xiao Wei start to wonder if she shouldn’t end the relationship.
Chicago blues great Buddy Guy never was the same after he heard John Lee Hooker’s seminal “Boogie Chillun’” while growing up in his rural stomping grounds of Lettswork, Louisiana. In 1957 he set out for the Windy City and its vibrant blues scene, where he played his way into the clubs, cut records, befriended and gigged with other greats (Muddy Waters, Howlin’ Wolf, Otis Rush), forged his skillful, intense, wild persona, hit the road, influenced new generations of musicians (Mick, Keith, Eric, Stevie Ray Vaughan), performed at the Obama White House and collected nine Grammys along the way. Supported by a sumptuous assemblage of performance footage, testimonials from those he’s inspired (including Clapton, Carlos Santana, Gary Clark Jr., and John Mayer) and some classic blues licks, Buddy Guy: The Blues Chase the Blues Away finds Guy (now a young 84) looking back at his life, providing valuable insight into his music while leaving room for some memorable anecdotes.
Known for his unmistakable cascading strings and recordings such as Charmaine, Mantovani enthralled the world with his sublime arrangements. This is the story of the man and his music.
A new governess arrives at a country house to take care of two seemingly angelic young children. But she begins to suspect that the house is haunted, and that the ghosts mean harm to the children.
An observational film that using the fragmented format of a newscast program proposes a cinematic glance to the same reality depicted daily by the media.
We move back and forth between scenes of a family at home and thoughts about the stars and creation. Children hold chickens while an adult clips their wings; we see a forest; a narrator talks about stars and light and eternity. A dog joins the hens and the family, while the narrator explains the heavens. We see a bee up close. The narrator suggests metaphors for heavenly bodies. Scenes fade into a black screen or dim purple; close-ups of family life may be blurry. The words about the heavens, such as "The stars are a flock of hummingbirds," contrast with images and sounds of real children.
An atmospheric essay, which is an alternative version of Count Dracula, a film directed by Jess Franco in 1970; a ghostly narration between fiction and reality.
At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton
Humans, Animals, Earth, Wind and Water, converge with the same energy of a filmic fire, which crosses and relates them. By the appropriation of educational images of 16 mm films, which in the past were used to educate us, Animal Within evokes a poetic collision between images of the human and the animal.
Stochastics investigates the possibility of making a primitive film, using a flea market Rolleiflex from the fifties, shooting on 120 (6 X 6) black and white film on which each roll takes twelve pictures.
This film was reconstructed and completed in 1995 by Javier Codesal for the Filmoteca de Andalucia, from the montage and the sound that Val del Omar had outlined before his death, after having returned to a project abandoned twenty years before with the incorporation of significant additions (above all in the soundtrack). Val del Omar's notes show that, as he typically did, he had other alternative titles in mind, such as "Acariño de la Terra Meiga" (Caress of the Magic Land), "Acariño a nosa terra" (Caress of Our Land), or "Barro de ánimas" (Clay of Souls), and that in the final phase of the unfinished project he wanted to add a second sound channel – following the diaphonic principle, and using electro-acoustic techniques – consisting of ambient material that he intended to record at the first screenings of the film in the very places and to the very people that were its origin: its "clay".
A short, experimental documentary featuring sculptures by Alonso de Berruguete and Juan de Juni. Shot within the Valladolid National Museum, the film is an excercise in what Val de Omar called "Tactile vision".
Alexander V. Men was a Russian Orthodox priest, theologian and writer, whose influence is felt among Christians, both in Russia and abroad. He was murdered on September 9th, 1990.
The film was made in the days of the August 1991 coup in Leningrad, USSR . Respecting the manner of a proprietary parallel cinema with the use of hand-held camera . Subsequently, Lars von Trier in his " Dogma " went on the same way , using a handheld camera without a tripod or placing special light. The soundtrack of the film is the soundtrack Emergency Committee appeal for the All-Union Radio August 19, 1991 . The film captured the moment of change red tricolor flag on the roof of the Mariinsky Palace on August 20, 1991.
Mounting of the film by Dmitry Frolov on the basis of documentary frames of performances of Russian ballet dancers and lifeless margins of the Russian outback. Symbolizes the slowly naked and dying Russian world.
The lovers travel as if magical cosmic twins; but their earthbound existence induces recurring distraction, ill health, and indifference. Resolution comes, but it too is multiply doubled.
Living in fragments, pieced together in varied ways, uncertainly, and yet... Inside there is a familiar chaos, awaiting a key...
Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, "Very nice, very nice." The film was nominated for an Oscar for Best Live Action Short Film.
Still Life #02 is part of a broader investigation on our relationship with images and their immateriality. It emerges from the desire to touch the intangible: the digital image. It manages to embody the pixel and carve it with a chisel; to explore its physical nature through direct intervention.