2016-03-30
8
In 1999 Hussain Sadiqi fled the remote mountains of central Afghanistan as the Taliban stepped up their violent persecution of the Hazara people. This was to be the start of Hussain’s epic 20,000km journey to Australia. 10 years later, this self-confessed ‘nomad’ is about to give up his new life in his new country to pursue a lifelong dream - a dream that was born over 20 years ago, when a young Hussain first saw a torn and battered picture of his life long hero, Bruce Lee.
Mobile Suit SD Gundam Mk. II delivers with more tongue-in-cheek humor than the first series. In "The Rolling Colony Affair," a colony is hosting a cabaret show featuring the girls of Gundam. But the show turns disastrous when men and mobile suits go crazy over the girls, sending the colony rolling out of control. A parody of the videogame RPG genre, "Gundam Legend" has Amuro, Kamille and Judau sent on a perilous quest to rescue the princess of the Zeta Kingdom from Char Aznable and his vicious Zeon MS forces.
Nacho has been working away from Málaga, his hometown, for a year. He comes back to take his driving test for the eighth time. He is so ashamed that he has only told his best friend, Jorge. But this is not the only secret Nacho has kept from his friends.
A special behind-the-scenes look at the making of the audiobook edition of "d'ILLUSION: The Houdini Musical" and how it did its part in helping keep theater and the arts alive during the COVID-19 pandemic.
Live DVD release from GALNERYUS featuring final performance of "RAISE YOUR FLAG AGAIN TOUR" in 2011 at Shibuya AX. Also features live footage in Seoul on February 5, 2012.
A special for these unique times. Filmed entirely at the homes of Penn & Teller and their friends around the world, Penn & Teller: Try This at Home showcases new magic Penn & Teller and their magician friends have developed at home and teaches viewers how to do an array of tricks themselves while being joined by celebrity guests including Elle and Dakota Fanning, Michael Carbonaro and Shin Lim.
Emma's parents are going to divorce, but before that the family goes on holiday to the countryside. Emma is left alone when the parents just arguing and moving to another room. Soon she discovers that there is something mysterious about the room when a typewriter starts writing a message by itself...
Young Scott Doherty (Adam Garcia) gets suspicious when his mother (Jacqueline Bisset) plans to wed Oliver Vance (Stuart Wilson) soon after her husband's untimely death. Scott investigates with Oliver's pretty daughter, Kelly (Alice Evans), who shared Scott's doubts about the upcoming nuptials. Along the way, he falls in love with Kelly, but a fatal explosion turns Scott's life upside down - and the evidence points to him as the murderer. Has he been framed?
A well dressed old man was waiting on a bed. A telephone rang. A glamorous young lady entered the room. They vaguely introduced themselves and made love. A bloody current exchange in a way.
Young Furuhata, a 3rd-year junior high student from Tokyo, transferred to a school in the countryside due to family circumstances. He doesn't fit in at first, but he eventually gains a reputation as a detective and opens his own detective agency. One day, he hears about the town's legend of buried treasure, and he immediately begins unraveling the mystery.
Oleg is forty. Larissa is over thirty. Twenty years he lived with his wife Tatiana, who knows from childhood (studied in the same class), he has a twelve-year-old daughter nick. Established way of life. Good job. The emptiness in my soul — from the dashed hopes. And to top it all — she, Larissa. Very welcome, but from the point of view of sound logic — it is made unnecessary. The affair lasts for a year. They love each other as passionately as it happens only in his youth. But his wife finds out about their affair. Learns and daughter. The girl really wants to help her mother. And to eliminate razluchnitsa of the lives of their families. But it comes out differently…
An animated film created from pastel drawings by Clorinda Warny, Premiers Jours traces the complete cycle of life, from birth to adulthood, in four seasons, and through the evolution of earthly landscapes that become human bodies. Completed Postumously by Suzanne Gervais, Lina Gagnon
Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.
Three women share their experience of navigating the app-world in the metro city. The sharings reveal gendered battles as platform workers and the tiresome reality of gig-workers' identities against the absent bosses, masked behind their apps. Filmed in the streets of New Delhi, the protagonists share about their door-to-door gigs, the surveillance at their workplaces and the absence of accountability in the urban landscape.
During the summer of 2023, my father decided to hang up the boots and walk away from the family business of 25 years. This is my love letter to the cafe in which my family and I have worked, encapsulating the good vibes and cheery nature the business held for a quarter of a century.
Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a pick. When the wall hits the ground, a cloud of white dust whirls up. Three workers continue the demolition of the wall with picks.
A bare-knuckled critique of corporate America told through the powerful true story of a toxic CEO who evolves from a profits-over-people, philandering executive to an unorthodox leader, populist messenger, and mentor to American influencers. It’s a story of growth, redemption and the impact of self-awareness on leadership and life.
Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.
In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.
The drastic economic development in South Korea once surprised the rest of the world. However, behind of it was an oppression the marginalized female laborers had to endure. The film invites us to the lives of the working class women engaged in the textile industry of the 1960s, all the way through the stories of flight attendants, cashiers, and non-regular workers of today. As we encounter the vista of female factory workers in Cambodia that poignantly resembles the labor history of Korea, the form of labor changes its appearance but the essence of the bread-and-butter question remains still.
Take a deep dive into the booming, scantily-clad barista coffee shop scene in Seattle where sex sells - your morning coffee. But behind the intrigue of lingerie and java lurks a darker side, where female "bikini baristas" struggle with the troublesome and inappropriate behavior of their male clientele. At what cost are merchants willing to foster a culture of sexual harassment and use sex to push profit?
After consolidating itself as a tourist destination in the mid-1960s, this small coastal village has become the dormitory town for the workers of a Nuclear Power Plant. With the liberal promise of prosperity and socioeconomic wellfare, many workers left their homes to move to the small city and started working at the new Nuclear Power Plant. The collective unrest and the silence, cut off by the great gusts of wind, articulate the landscape of the village that is now under the aid of the Nuclear Power Plant.
In suburban Buenos Aires, thirty unemployed ceramics workers walk into their idle factory, roll out sleeping mats and refuse to leave. All they want is to re-start the silent machines. But this simple act - the take - has the power to turn the globalization debate on its head. Armed only with slingshots and an abiding faith in shop-floor democracy, the workers face off against the bosses, bankers and a whole system that sees their beloved factories as nothing more than scrap metal for sale.
A film about non-territorial office space, multi-mobile knowledge workers, Blackberries and Miles&More. A road movie discovering the working world of tomorrow. This documentary will take you on a journey through the post-industrial knowledge and services workshops, our supposed future working place. In this new world work will be handled more liberally. Time clocks cease to exist. Attention is not compulsory any more. The resource “human“ comes into focus. The film closely follows the high-tech work force – people who are highly mobile and passionate to make their work their purpose in life. Further episodes resume this topic and lead into the world of modern office architecture and into the world of Human Resource Management.
Magical, autonomous, all-powerful… Artificial intelligences feed our dreams as well as our nightmares. But while tech giants promise the advent of a new humanity, the reality of their production remains totally hidden. While data centers are concreting landscapes and drying up rivers, millions of workers around the world are preparing the billions of data that will feed the voracious algorithms of Big Tech, at the cost of their mental and emotional health. They are hidden in the belly of AI. Could they be the collateral damage of the ideology of “Longtermism” that has been brewing in Silicon Valley for several years?
The parallel stories of four Pakistani immigrants in Greece become the trigger for the director to explore the story of his father, a worker in the Perama Shipyard. The background unfolds a most deadly shipwreck, Libyan immigrants found in limbo, as well as a (possibly racist) crime, which was committed during the shooting of this film.
How Finnish immigrants came into contact — and conflict — with industrial America. Three generations of Finnish-Americans recount how they coped with harsh realities by creating their own institutions: churches, temperance halls, socialist halls, and cooperatives.
In China’s popular live-streaming showrooms, three millennials – a karaoke singer, a migrant worker and a rags-to-riches comedian – seek fame, fortune and human connection, ultimately finding the same promises and perils online as in their real lives.
In the late 1960s and early 1970s, girls aged 12 to 16 began working at Pyeonghwa Market. Running sewing machines, they also study the Labor Standards Act under the tutelage of Jeon Taeil. On September 9, 1977, they were imprisoned fighting against the government that closed labor classes, shouting, “The next Jeon Taeil will be a woman!” Now the middle-aged girls recall the memories of the life of female workers, social contempt, and stigma. Watching the sunrise in the East Sea, they admire, ‘How fair it is because everybody can see it.’ Sewing Sisters rewrites the history of maledominated Korean labor struggles in the 1970s with news interviews of female workers belonging to the Cheonggye Clothes Union.
For decades, migrant workers have worked the fields of Immokalee, harvesting tomatoes, peppers, eggplants, oranges and other produce that is then shipped across the United States of America. Many of the workers are undocumented, and attempting to keep their jobs even as federal migration crackdowns hover over the town. The Fields of Immokalee film follows the daily lives of tomato workers, from the 5:00am trips to the parking lot in hopes of finding day labor, to work sessions in the scorching mid-day heat, to child detention centers for migrant youth that have been separated from their families. Via these vignettes, the film offers insight into the most volatile political issue of our time.
Filmed in the Inner Mongolian portion of the Gobi Desert, this film follows a group of oil field workers as they go about their daily routine.
Almost 200 women file by a device on the wall from which they take their time checks. A man runs half-way across the screen at the end of the film.