1 A Bitter Message Of Hopeless Grief 2 The Will To Provoke 3 The Delusions Of Expediency 4 The Pleasure Of Uninhibited Excess 5 A Scenic Harvest From The Kingdom Of Pain 6 Virtues Of Negative Fascination 7 Seven Machine Performances
1 A Bitter Message Of Hopeless Grief 2 The Will To Provoke 3 The Delusions Of Expediency 4 The Pleasure Of Uninhibited Excess 5 A Scenic Harvest From The Kingdom Of Pain 6 Virtues Of Negative Fascination 7 Seven Machine Performances
2004-05-25
8
In Shanghai, an American girl who helps runs an opium ring meets an American agent disguised as a mining engineer. The two fall in love, and she has to determine where her loyalties lie.
Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.
Irish coastal fish smoking house entrepreneur Robert O'Neill failed to marry his youth love Jane, who went to study in England and wed tycoon Edward Wilson. Robert's wife has terminal cancer and stages her own death, only to have a real fatal incident after telling first lover Conor O'Hara, meanwhile a priest, he's her daughter's biological father. Edward Wilson buys the town' castle as part of his many dirty dealings. Jane and Robert grow together again in opposition to Edward's local project.
The film revolves around the life of the martyr Mustapha Ben Bouleid (1917-1956), who was a member of the Algerian National Movement, who worked with his comrades to explain the idea of the armed revolution in which he led in Aures region in 1954. The film depicts how Ben Bouleid traveled to a number of Arab countries Disguised to bring arms to Algeria for the revolution and how the French colonial forces arrested him in the Tunisian-Libyan border, and from there to Algeria to be sentenced to death.
Top Nazi officials, intent on rooting out traitors and those in the military who may be plotting to overthrow Adolf Hitler, recruit and train a group of beautiful prostitutes whose mission is to use any means necessary to uncover plots against the Fuhrer.
Winter of 1944, the last days of the war. When the roads and houses ceased to exist and the bottom of the cellars become filled with life, when fortunes were lost and countries burned up, her used coat was only important to Mama, the cloak-room servant of a local dance-school. Her son stole it to sell it for twenty pengő. He did it because Aranka Fussbaum's love cost money. There is no honour left in such a destroyed world. Yet still they start looking for that coat... (Elemér Ragályi won Best camera with this movie in Montreal, 1979, and in Budapest, 1980.)
Chick Hewes is released from prison and finds work as an accountant. Two years later, Chick's crooked friend, Benny LaMarr, to whom he is indebted for past kindnesses, steals a diamond necklace from the home safe of the district attorney. When the district attorney threatens to accuse the police of inefficiency in crime fighting, Garvey, who is campaigning for the office of police commissioner, promises to catch the thief in twenty-four hours.
Malou Von Sivers is the hostess of a popular Swedish talk show in which she quizzes famous people about their public and private lives. Through the noted Swedish actor Erland Josephson, Malou extended an invitation to the legendary -- and notoriously reclusive -- director Ingmar Bergman to appear on her show. To Malou's surprise, Bergman agreed, under the condition that Josephson appear on the show with him. In the course of this 52-minute interview, Bergman discusses his personal life rather than his films, shedding light on his temper, his mood swings, his problems with women, his marriage, and the trials of his advancing age. The interview was later re-edited into expanded form for international release as Malou Meets Ingmar Bergman and Erland Josephson. The documentary was screened at the 2000 Cannes Film Festival.
As the aliens near the end of their sexual odyssey, Emmanuelle and her intergalactic lover experience spiritual and physical pleasure for possibly the last time.
A desperate band of Militia men attempts a daylight bank robbery in the sleepy semi-rural City of Norco, California, and leads the local Police on the longest, most violent running gun battle in Law Enforcement history. Based on the true events.
The Palindromists is a documentary delving into the world of palindromes – those peculiar words and phrases that read the same backwards and forwards. Explore palindromes in history and meet the world's greatest palindromists as they see everything backwards preparing for the World Palindrome Championship.
Si-eun, a new kindergarten teacher, believes that between six-year Seo-ra and a boy her age, some kind of bad education is starting up.
Story of the early maturity of a boy, which confirms the old pedagogical truth that life, joy and trouble that man carries with himself, are best teachers.
A momentary flight into blood coloured spaces: Blood Sky reveals a ‘…swiringley red world transformed by camera movement’. – Independent Media.
Documentary with live performances. Industrial, Noise and Martial video by Cold Meat Industry.
In the first 58 minute Performance, Relation in Space, which took place in July 1976 at the Biennale in Venice, Abramovic/Ulay, both naked, walk towards each other from opposite ends of a room, touching as they pass each other, and then they repeat the movement while their bodies collide and one of them (Marina) falls over under the impact, until they are both exhausted. A statically mounted video camera simultaneously filmed the touching of the bodies in the middle of the room.
Bas Jan Ader's first fall film shows him seated on a chair, tumbling from the roof of his two-storey house in the Inland Empire.
This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.
One of a series of ‘falls’ by Bas Jan Ader that he recorded on film, this work was filmed in West Kapelle, Holland in 1970.
Bas Jan Ader hangs from the branch of a tall tree, until he loses his grip and falls into a river below.
Shot in his garage-studio, the camera records Ader painstakingly hoisting a large brick over his shoulder. His figure is harshly lit by two tangles of light bulbs. He drops the brick, crushing one strand of lights. He again lifts the brick, allowing tension to accrue. The climax inevitable—the brick falls and crushes the second set of lights. Here the film abruptly ends, all illumination extinguished.
We live in a world where the powerful deceive us. We know they lie. They know we know they lie. They do not care. We say we care, but we do nothing, and nothing ever changes. It is normal. Welcome to the post-truth world. How we got to where we are now…
The duo made up of musician and actress Julia de Castro and double bass player Miguel Rodrigáñez thus premieres their latest show, Exhalación: vida y muerte de De La Puríssima. With it, they intend to put an end to the ten-year revolution of EL CUPLÉ this scenic musical genre, which the singular tandem has merged with jazz, cumbia and electronics on stages around the world. Show nominated for the Premios Valle Inclán. As the duo explains, De La Puríssima was born in 2009 “as a transit project, in which music was the most direct and ritualistic medium from which to raise core issues such as sex, bullfighting, folklore or religion”. Now, a decade later, it is time to remove the peineta and celebrate the end of a stage in which the provocative lyrics by Julia de Castro have traveled through numerous audiences to bring up to date a genre that was in the forgetfulness of national folklore, the cuplé.
The definitive documentary that reviews the enormous career of Esther Ferrer, one of the great Spanish creators in the performance genre. A "hybrid" between the documentary and the discipline of performance itself, between recording and creation, which uses elements and techniques typical of the cinematographic genre on which animation and self-created elements are superimposed.
A compilation of interviews, rehearsals and backstage footage of Michael Jackson as he prepared for his series of sold-out shows in London.
Through the voice of its founder Marinella Senatore, the video focuses on a few key themes of The School of Narrative Dance project. The artist describes how the nomadic school, founded in 2013, centers on the concept of "assembly" and collective creation which promotes an educational system based on emancipation, inclusion and self-cultivation. A school which continues to travel and has, until now, worked in more than 15 countries in the world and involved some 5 million persons including activists, both amateur and professional workers, dancers, choreographers, actors and poets in an atmosphere of shared knowledge. As the artist speaks, scrolling across the screen are images from the itinerant performance held in Naples in September of 2019.
An interwoven investigative biography of U.S. presidential candidates Hillary Clinton and Donald Trump that draws on dozens of interviews from those who know them best—friends and family, advisers and adversaries—as well as authors, journalists and political insiders.
Laibach North American Tour 2004 and Laibach live 13.12.2004 La Locomotive, Paris, France This Film is a unique document of the Laibach tour, during the traumatic post-election atmosphere in The USA, a country deeply divided by two opposite political and cultural poles. The tour has been therefore named "The Divided States of America Tour".
A timely film exploring the confrontation between a feisty 92-year-old Scottish widow and her family and a billionaire trying to become the most powerful man in the world.
In 2012 two members of anarchistic female band Pussy Riot were sentenced to two years in a Mordovian labor camp for "hooliganism motivated by religious hatred". Russian film collective Gogol’s Wives follow each step of the feminist punk band’s battle against Putin including their first disruptive performances on a trolley bus, shooting a video about transparent elections, a controversial performance in a Red Square cathedral, and footage shot in a jail cell. Support comes from many corners including Madonna who painted the words "Pussy Riot" on her back and wore a balaclava during her Moscow show. The documentary portrays the grim state of present-day Russia, a country starkly divided between conservatism and anarchy. Pussy Riot believes that art has to be free and they're willing to take it to extremes. "Pussycat made a mess in the house," they say, and the house is Russia. The filmmakers do not seek to moralize, they simply edit events and leave viewers to draw their own conclusions.
Documents four of Abramovic's solo works, exercises in which her body is the vehicle for a rigorous testing of the self — violently brushing her hair and her face, vocalizing until she can no longer breathe, intoning a stream-of-consciousness flow of memories, moving to a drumbeat until she literally drops from exhaustion.
The video revolution of the 1970s offered unprecedented access to the moving image for artists and performers. This Is Not a Dream explores the legacies of this revolution and its continued impact on contemporary art and performance. Charting a path across four decades of avant-garde experiment and radical escapism, This Is Not a Dream traces the influences of Andy Warhol, John Waters and Jack Smith to the perverted frontiers of YouTube and Chatroulette, taking in subverted talk shows and soap operas, streetwalker fashions and glittery magic penises along the way.
During the 1980 exhibition of Burden's monumental kinetic sculpture The Big Wheel at Ronald Feldman Fine Arts, New York, Burden and Feldman were interviewed by art critic Willoughby Sharp. Burden articulates the process of creating The Big Wheel, a 6,000-pound, spinning cast-iron flywheel that is initially powered by a motorcycle, and discusses its relation to his earlier performance pieces and sculptural works. Addressing his motivations and the meaning of this potentially dangerous mechanical art object, Burden discusses such topics as the role of the artist in the industrial world, "personal insanity and mass insanity," and "man's propensity towards violence."