Additional materials for "Major Grom: Plague Doctor" (2021).
As „wings of men“ they became the faithful companion of a great nomadic nation thousands of years ago. Today, 28 years after the Soviet occupation, the little horse is an essential part of the cultural heritage and the search for identity of the modern Kyrgyz people. Based on its own story, a so called „good brown horse“ leads through the film and offers an insight of what it could mean to be „todays wings of men“. Told by a horse’s voice and through its eyes, this short film still is a documentary, but also a poetic journey to a nomadic culture.
Fledgling comedian Eric Rushton has never been on a date - until this documentary.
This film features some of the most important living Postmodern practitioners, Charles Jencks, Robert A M Stern and Sir Terry Farrell among them, and asks them how and why Postmodernism came about, and what it means to be Postmodern. This film was originally made for the V&A exhibition 'Postmodernism: Style and Subversion 1970 - 1990'.
A behind the scenes snapshot of the making of one of the greatest films ever made. Filled with trivia, interviews from cast and crew, and more.
During the women's demonstration on March 8, 1972, Mariasilvia SPOLATO was there with a placard: Liberazione omosessuale. A month later, Simone de Beauvoir came to Rome to give an interview, and this placard illustrated her article. Mariasilvia could no longer teach, ended up homeless and spent her life on the trains.
WINHANGANHA (Wiradjuri language: Remember, know, think) - is a lyrical journey of archival footage and sound, poetry and original composition. It is an examination of how archives and the legacies of collection affect First Nations people and wider Australia, told through the lens of acclaimed Wiradjuri artist, Jazz Money.
A documentary on the work of experimental British animator David Anderson.
Cast and crew discuss the success of the novel, transitioning it to film and condensing it for the medium, and gender dynamics in Sweden.
Divided into several segments: A detailed examination of the editing process, centered around Fincher screening scenes from the film; in the recording studio for post-production dialogue recording; comparing the final title sequence to its earliest stages of development in a three-way composite. - viewers may also watch any off the three variations in a full-screen mode and a supplement that showcases various scenes in different stages of completion.
This is a mock episode of the 80's-90's era tabloid show was created as part of the film's Internet promotion.
A look at the process of creating a metallic poster.
Interviews with Lemmy, Phil Campbell, Mikkey Dee, Eddie Clarke and Phil Taylor. Released with the 30th Anniversary edition of INFERNO.
Behind the scenes look at the making of The Blackening, Machine Head's sixth album.
An international tech entrepreneur with a fondness for architecture asks Rem Koolhaas to build a house on an impossibly small piece of mountainside in Zell am See in Austria. The architect of the celebrated book S,M,L,XL seizes the challenge: how to draw light into a house less than four metres wide that is mostly underground? Photographer and filmmaker Frans Parthesius followed the building process and offers insight into Koolhaas’s way of working and the special relationship with his client.
If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.
During the exhibition Splendors of the Oases of Uzbekistan at the Louvre, a journey to the mythical city of Samarkand, a fabulous tapestry of civilizations.