The art of mixing color is shown in a visual presentation.
The art of mixing color is shown in a visual presentation.
1960-01-01
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A barefoot contessa, a screwed-up princess, an exquisite drunk, a bawdy aristocrat, a nightmare for puritanical America and the moguls of Metro-Goldwyn-Mayer, Ava Gardner never stopped loving those she loved. She turned women green and made men sweat. And rejected with all her force the bulwark of normality.
On April 13, 2011, Les Films 13 production company turned 50. How can one celebrate an anniversary of this sort ? By simply making "another" film that would sum up all the earlier ones. D'un film à l'autre is hence a kind of anthology of the films produced Les Films 13 since the 1960s (short and feature films written and directed for the main part by Claude Lelouch), a best-of of half a century of cinema, going from Le Propre de l'homme to What Love May Bring. A biography in images of a filmmaker as admired as he is criticized. In reality, D'un film à l'autre is more than a series of film excerpts, interviews, and making-of documents (some of which possess an undeniable historical value, like that from A Man and A Woman, or the final performances of Patrick Dewaere).
Documentarian Jose Sanchez-Montes turns his attention towards the late Cuban musician Ignacio Villa, known throughout the world as Bola de Nieve (Snowball), with this 2003 biographical documentary entitled simply Bola de Nieve. A master pianist, Bola de Nieve was a mainstay through the middle portion of the 20th century, with his music almost omnipresent in South America cinema throughout those formative decades. With Bola de Nieve's famous statement "I'm a sad person, but my songs sound happy" in mind, Sanchez-Montes also looks at the influence of the musician's African heritage and homosexuality upon Bola de Nieve's unique musical style.
A profile of writer-director Billy Wilder
An audiovisual chronicle of the Spanish Civil War in Galicia. Memorias Rotas centers on a group of republican fighters leaded by Commander José Moreno. The group disappears as they fail trying to escape by sea in the border between Galicia and Asturias and nobody ever knows about them.
Stylized with dramatic interiors and a distorted frame rate, this early documentary miniature from Szulkin depicts six sequences of solitary, repetitious labor.