The Flying Karamozov Brothers have been "in the biz" since 1973 performing everywhere from the streets of San Francisco to more recent appearances on Broadway. And now... The Flying Karamozov Brothers present, their first ever made for video, video: How to Juggle & Other Matters of Life & Death. For the accountant who juggles the books, for the homemaker who juggles the family's schedule, for the busy executive who juggles the office, and especially for KIDS of all ages who juggle a limitless supply of energy. Finally, a video for anyone who ever wanted to learn how to juggle anything.
Fyodor
Ivan
Smerdyakov
On August 7th 1974, French tightrope walker Philippe Petit stepped out on a high wire, illegally rigged between New York's World Trade Center twin towers, then the world's tallest buildings. After nearly an hour of performing on the wire, 1,350 feet above the sidewalks of Manhattan, he was arrested. This fun and spellbinding documentary chronicles Philippe Petit's "highest" achievement.
Shortly before Christmas, a family moves into an apartment where Rupert the squirrel lives in the attic rafters. Just as it seems that the holiday will come and go without so much as a Christmas tree, Rupert acts as the family's guardian angel - not only saving Christmas, but changing their lives forever.
Daffy is an agent representing Sleepy Lagoon, trying to sell him to talent scout Porky. Daffy spends a great deal of time and energy explaining and demonstrating what the kid can do, while the kid sits on a couch licking a giant sucker.
A multi-generational film of a unique, vanishing culture of Polynesian women jugglers in The Kingdom of Tonga.
The disgraceful Reggie Gussle spends a day at the park with his hated wife while trying to steal a lovely girl from her boyfriend.
Casper befriends a bear cub with a natural talent for juggling. Soon the cub is in the circus, but a gorilla proves to be much scarier than any ghost.
A man performs tricks on a theatre stage with a bowler hat and a billiards ball in equilibrium on his arms and body.
Duke Turnbeau (David Soul) has come to England, in the 1930s, as a way to improve his fortunes. For some reason, he believes that his larcenous ways will bring him prosperity in the country which at one time or another has had rulership over a large portion of the globe. While there, he meets Rosie McCratchit (Pamela McMyler), a lovely Irish gal who could do with some improvement in her fortunes as well. Together, they have a series of legal, quasi-legal and definitely illegal adventures, including Duke's cow-roping and Rosie's response to the mud-wrestling challenge of the Amazon Lady, as well as an attempted armored-car robbery.
WHY WE JUGGLE is a portrait of six artists from all over the world and their motivations for juggling. Through juggling, individual worldwide conflicts are being told. For the protagonists, playing with gravity is a counterpart to their harsh realities and a way to escape them for a few moments.
The Grand Inquisitor from Dostoevsky's The Brothers Karamazov produced by the Open University.
When disillusioned Swedish knight Antonius Block returns home from the Crusades to find his country in the grips of the Black Death, he challenges Death to a chess match for his life. Tormented by the belief that God does not exist, Block sets off on a journey, meeting up with traveling players Jof and his wife, Mia, and becoming determined to evade Death long enough to commit one redemptive act while he still lives.
Ryevsk, Russia, 1870. Tensions abound in the Karamazov family. Fyodor is a wealthy libertine who holds his purse strings tightly. His four grown sons include Dmitri, the eldest, an elegant officer, always broke and at odds with his father, betrothed to Katya, herself lovely and rich. The other brothers include a sterile aesthete, a factotum who is a bastard, and a monk. Family tensions erupt when Dmitri falls in love with one of his father's mistresses, the coquette Grushenka. Two brothers see Dmitri's jealousy of their father as an opportunity to inherit sooner. Acts of violence lead to the story's conclusion: trials of honor, conscience, forgiveness, and redemption.
Medieval French monks find a freezing, ill juggler and take him in. Upon recovering, the impoverished man wishes to illustrate his tremendous gratitude. He eventually finds a way to.
A young nobleman, pursued by Satan since childhood, yields and signs a pact for his soul in exchange for marriage to a woman he loves who is in love with another.
The three protagonists play, eat and argue together. In this, at least, they are no different from other boys their age. But they are different in one crucial way, because nine-year-old Daniel and Habtom and Yohannes, both aged 12, live on the street, sleeping in an abandoned car on the side of the road. Without money or any form of adult support, they struggle to survive in Addis Ababa, the capital of Ethiopia. And there are around 270,000 other street kids like them. The film records the three boys’ daily lives without being overly sentimental.
Love and desire fill the minds of villagers in a Hungarian speaking village in Transylvania, Romania, even in their old age. Time has stood still here, and although most of the village’s inhabitants are elderly, they are refreshingly young at heart.
Khalo Matabane spent two years making the film, interviewing those who knew and loved Mandela, and also those who criticised him. Global thinkers, politicians and artists including the Dalai Lama, Henry Kissinger and Ariel Dorfman talk about the effect of his policies and his decision making. Their thoughts are weighed equally with ordinary South Africans like Charity Kondile, who refuses to forgive her son's apartheid operative murderer. Through these interviews, completed in the last months of Mandela's life, Matabane interrogates for himself the meaning of freedom, reconciliation and forgiveness. By doing so he challenges Mandela's enduring impact in today's world of conflict and inequality. Thought-provoking and reflective, Mandela, the Myth and Me is a moving film which frames Mandela from a fresh, deeply personal perspective. (Storyville)