Light begins to illuminate the small, nipple-like end of a lemon on the right edge of the frame and gradually spreads until the entire lemon is clearly visible. Then the light recedes across the frame.
Ava, an award-winning chef at a big-city restaurant, has lost her spark. Her boss sends her out to find herself to save her menu and her job. She returns home and finds little to inspire her, but when she reunites with her childhood friend Logan, Ava has to get her head out of the clouds and her foot out of her mouth to rediscover her passion for food.
Valdis Nulle is a young and ambitious captain of fishing ship 'Dzintars'. He has his views on fishing methods but the sea makes its own rules. Kolkhoz authorities are forced to include dubious characters in his crew, for example, former captain Bauze and silent alcoholic Juhans. The young captain lacks experience in working with so many fishermen on board. Unexpectedly, pretty engineer Sabīne is ordered to test a new construction fishing net on Nulle's ship and 'production conflict' between her and the captain arises...
When '80s B-movie icon Tim Thomerson wakes up one day to realize the acting roles are not coming his way any more, he sets out on a quest to find his former co-star Lance Henriksen to discover his secret of Hollywood longevity and gets more than he bargained for in the process.
Along the coast of British Columbia lies an enchanted wilderness, where bear-hunting wolves take to the sea and grizzlies clash in titanic battles. In this magical, yet forbidding place, wildlife coexists and behaves as nowhere else on earth. As this precious arc of habitat faces an uncertain future, threatened by chainsaws and fish farms, a team of dedicated scientists are racing to prove that it must be protected. National Geographic joins these experts on a 250-mile adventure through remote and unexplored territory, battling nature's most brutal elements and witnessing its breathtaking best. The scientists form a wilderness detective squad, collecting clues that will decipher the secret life of the forest's elusive inhabitants and perhaps even reveal a glimpse of the rare white spirit bear in Great Bear Rainforest.
Spencer and Bru break into his HQ and capture notorious drug lord Manuel Santiago of a DEA Agent. Santiago's angered assistant, Mason Lee, takes the school hostage where Kelly is teaching and Jessica is one of the students in attendance in retaliation to Santiago's capture. Alison, knowing a way in, joins Spencer and Bru in the rescue.
At the end of the road lies a track, the very last, a track swamped with the mud of a Siberian autumn, and at the end of this track lies a vast, dark forest which secretes those who have made this their final refuge, in hamlets that fray a little more with every passing day, sapped by misery and alcohol. We have to travel as far as we can, and be prepared to fall into the ditch, to see what makes us human.
The deconstruction of the Avatar scenes and sets
A criminal psychiatrist investigates the murder of a two-time widower.
A man is imprisoned for a crime he didn't commit. When his wife is murdered and his son kidnapped and taken to Mexico, he devises an elaborate and dangerous plan to rescue his son and avenge the murder.
"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive matters." - HF
Theory of Light is a documentary centred on the climate emergency through a climate justice lens. It's committed to uplifting the perspectives of communities already being impacted by climate change and representing those who feel excluded from the climate movement.
An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus.
This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.
The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.
Dusk of the Lights is a short experimental film directed by Allan Bustovsky.
The port of a Mediterranean coastal city, which had once been the symbol of prosperity and the epicenter of life in the region, is now only the reflection of a decaying present. Static and empty shots reveal glimpses of a brilliant past, only interrupted by the intermittent sound of the construction of a residential apartment building that stands menacingly a few meters from the dock, presaging an even darker future.
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable
An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.
Filmed mostly on a Mini DV camera Gavin has thought of a quick way to become successful and be the master of the world but he has to wait for it all to fall into place… he has to wait for the postman to start production documenting the process of being master of the world.
Five Kiwis take on a paragliding adventure in Tanzania, with the ultimate aim to fly from the summit of Mt Kilimanjaro.
A glimpse into a visual representation of memory; A Christmas-time series of meals, coffees, and movies, with friends, lovers, and housemates. Faced with the compounding of faces and places, each moment begins to collide with one another: voices are muddled, and faces are broken. How is memory created? How are they separated from one another?
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
Backed by an echoed horn music, the light passes through a magnifying glass. On the walls, they portrait pans being held on top of a stove.
An exciting video journey through the world of time-lapse photography by one of the founders of the science of photobiology, Dr. John Nash Ott. Do fluorescent lights cause cancer and childhood learning and behavior disorders? Can long-term exposure to low-level radiation as from TV sets, computers, fluorescent lights, and similar devices harm you? Does living behind window glass and with glasses covering our eyes over years affect our health? Is natural sunlight and trace ultra-violet radiation really harmful? Or is it necessary and beneficial? How do cells, plants, and animals respond to constant exposure to different light color frequencies? These and similar questions were the subjects of Dr. Ott's pioneering investigations in the field of photobiology, using the methods of time-lapse photography.
Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.