"If it Won’t Hold Water, it Surely Won’t Hold a Goat" is an intimate meditation on the subversive nature of goats and their effect on the people who spend time with them. Centered on the story of the legendary Goat Man - a nomadic figure who spent most of his life walking the roads of Georgia with a wagon pulled by a herd of goats - this experimental documentary weaves together an interview with a goat farmer, footage of the daily rituals Johnson enacted with her own herd, and a poem about the Goat Man’s experimental and spectacular life.
"If it Won’t Hold Water, it Surely Won’t Hold a Goat" is an intimate meditation on the subversive nature of goats and their effect on the people who spend time with them. Centered on the story of the legendary Goat Man - a nomadic figure who spent most of his life walking the roads of Georgia with a wagon pulled by a herd of goats - this experimental documentary weaves together an interview with a goat farmer, footage of the daily rituals Johnson enacted with her own herd, and a poem about the Goat Man’s experimental and spectacular life.
2014-01-01
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1972 in Haute-Savoie (France) : the Bertrand's farm, with a hundred dairy cows owned by three bachelor brothers, is filmed for the first time. In 1997, they were the subject of Gilles Perret's first movie, as they let their farm to their nephew Patrick and his wife Hélène. Nowadays, 25 years later, Gilles Perret take another look at this farm, managed by Hélène who will step down. Through their words, an intimate, social and economic history of the rural world.
Amie Siegel’s film installations often reveal the hidden narratives behind architecture and design, investigating the mechanisms by which objects, materials, and spaces accrue meaning and value. The Architects examines the processes of architectural creation, using the artist’s signature slow, parallel tracking shots to offer insight into the inner workings of multiple architecture firms, slicing through them laterally like an architect’s section plan... Siegel not only punctures the myth of the singular “master architect” but also poses questions around creative autonomy, the sociopolitics of labor, and the circulation of capital. (Source: MoMA)
A young woman is fed up with the usual consumer's television and begins to make her own television, or more correctly, closevision. She is now a reporter who wanders around Berlin with her camera and 'telecasting apparatus' on her back. Her livingroom has been transformed into a studio and here the different programs are assembled and aired: statements, interviews, realistic and phantastic programs.
Patrick Kielty explores the untold story of Harry Ferguson and Henry's Ford's remarkable handshake agreement and how it led to a $250 million lawsuit.
The second part of a trilogy on the subject of farming in which an attempt is made to look at the existence of farmers at the end of the 20th century.
A trip through the diversity of black and native Peruvian music. Character-driven film, one where the characters are integral to the nation itself. This movie delves into music and musicians, yet it's not strictly a musical; rather, it's a tapestry of seemingly disparate personal narratives woven together in a country also striving to define itself and sketch its identity
Uninhibited description of what Spanish verbenas are and what their essence is, and of what nourishes and constitutes them both in recreational and popular territory and in a traditional institution.
National folk dances performed by "Tanec" folk dancers) from Skopje.
The Tragedy of an Artist, is an experimental short shot over the course of a week. This film is meant to illustrate who Hero Foltz is as a person and his struggles with self identity
Sabine is looking for a missing image: a day that has left its mark forever and that everyone remembers but her. But maybe this absence is what allows her to move on with her life?
Hansjürgen Pohland's short documentary is an audiovisual study that captures events and people on the streets on film. The special feature of the work is that the people and objects are portrayed exclusively through their shadows.
A poetic story of a proletarian couple’s relationship during the years of economic crisis and unemployment – of all the films directed by E. F. Burian, the film Chceme žít (We Want to Live, 1949) is probably his worst. The intention to create a powerful work of cinema that would combine modern means of expression with the ideological canons of socialist realism failed completely. Ježek and Tarnovski discovered these „shambles“ and tried to rebuild a structure out of the hopelessness and futility of life. Ježek has photochemically “transcribed” selected passages with the greatest possible degree of humility towards the work of the great avant-gardist, Tarnovski similarly makes the soundtrack visible. The improvised encounter of sound and image in dialogic mode can lead to various misunderstandings resulting in ambiguous compromise.
When the rivers freeze, world class freestyle kayakers find their way to a special spot on the Chattahoochee River. Squatting in an abandoned parking lot, they spend the winter training for the next world championships on North America’s best winter whitewater.
The experimental documentary filmed at rescue centres in Prague and Vlašim refuses the anthropocentric perspective and views the world through the eyes of wounded animals. The term Animot was taken over from Jacque Derrida. While the French philosopher and deconstructivist uses the term to refer to everything animalistic and non-human, the film, on the other hand, uses intimate details to point out the proximity between human beings and animals. They are connected by their vulnerability, helplessness and mortality.
When Terry and Monique left the opera to pursue their true passion - ecological farming - their story of community and resilience took center stage. We follow their young family and a diverse group of farmers and scientists as they blend age old traditions with cutting edge science to develop improved methods for growing food ecologically and in a changing climate. A hopeful story and Canadian perspective on a global social movement that regenerates the land, farming and communities.
Since Monsanto began selling their patented 'Roundup Ready' genetically modified (GM) seeds they have sued hundreds of farmers for patent infringement. Michael White, a fourth generation farmer and seed cleaner living in the northeast corner of rural Alabama never imagined that he would become the target of the conglomerates aggressive legal tactics. But unlike other farmers in his area Michael refused to give in to Monsanto and in doing so became one of only a handful of farmers to maintain the ability to speak publicly about his case. This is his story.