The visually impaired assistant at the Medical Faculty in Košice, Ján Grega, talks about his life.
The visually impaired assistant at the Medical Faculty in Košice, Ján Grega, talks about his life.
1963-01-01
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Adam Pearson - who has neurofibromatosis type 1 - is on a mission to explore disability hate crime: to find out why it goes under-reported, under-recorded and under people's radar.
A documentary about a vision care school that enables visually impaired children to learn the skills necessary for a full life.
This touching documentary follows a cast of blind and visually impaired actors as they prepare Dancing to Beethoven, a play about blindness. The film takes us deep into the lives of the actors. We hear stories of their shock and disbelief at first losing sight and of their struggles coping with a life without it. We hear them talk about grieving and pining for the visual world. They tell the moving story of how this play is itself a victory, a type of salvation, for each of them. By opening night, at the renowned Place des Arts in Montreal, they are a close-knit cast, well-honed and ready to step out of the wings and into the light.
Steve Saylor may be blind, but that doesn't stop him as he pushes to help make the video game industry more accessible, so everyone has the chance to experience the stories only games can offer.
Filmmaker Rodney Evans embarks on a scientific and artistic journey, questioning how his loss of vision might impact his creative future. Through illuminating portraits of three artists: a photographer (John Dugdale), a dancer (Kayla Hamilton), and a writer (Ryan Knighton), the film looks at the ways each artist was affected by the loss of their vision and the ways in which their creative process has changed or adapted.
This educational documentary shows a nine-year-old boy who is both visually impaired and gifted, in an inclusive school setting.
Rumble of train rails; Crashing of ocean waves; Soft caress of distant wind. Two people. Two ways of perceiving the world.
A woman and her blind partner must risk their lives to deliver an important package as they are pursued along a coastline by a mysterious evil force.
When her partially blind friend Siti goes missing, Laura, who's hard of hearing, rushes to the police with a bizarre tale. Played by actors with disabilities.
Looks at the emergence of lesbian feature filmmakers in the U.S. and how they produce films on a small budget. Interviews with directors Rose Troche (Go Fish); Sharon Pollack (Everything Relative); and Alex Sichel (All Over Me) as well as producer Dolly Hall, executive producer Christine Vachon and writers Sylvia Sichel and Guinevere Turner.
We all know Jack Nicholson the actor. But few know the history of Jack Nicholson the screenwriter, and especially Jack Nicholson the director. Nicholson's lifelong friend, filmmaker Henry Jaglom, reflects on the icon's behind-the-camera career, while film historian/filmmaker Daniel Kremer presents and analyzes the full scope of that history.
Onboard the Panerai container ship, the young sailor Rudmer dreams of becoming a captain himself one day.
In 1968, filmmaker Jules Dassin collaborated with Ruby Dee and civil rights activist Julian Mayfield on Uptight, a "politically radical" film noir about Black revolution, framed against the April 4 assassination of Dr. Martin Luther King, Jr. Director, producer and co-writer Dassin, a blacklisted American exile, returns to his birth country after having gone into a second exile from his adopted country Greece, then makes a film that roiled the powers that be (or "powers that were") in the U.S. government. The material so upset the FBI that they closely monitored the production up until the eve of its premiere, recruiting crew members as moles. The irony is rich, as Uptight was a remake of John Ford's The Informer (1935) and dealt with a turncoat character who engineers the assassination of a revolutionary leader. How is Uptight both an outlier (or anomaly) as well as simultaneously integral to the career of Jules Dassin?
Otto Preminger wasn't only one of the most famous directors of classic Hollywood. He was a presence, a brand, and the only one who rivaled Hitchcock as the greatest showman and self-promoter of his generation. But toward the end of his career, his attempts to "get with the times" (with films like Skidoo, Tell Me That You Love Me Junie Moon, Such Good Friends, Hurry Sundown, and others) shocked, alienated, and outright repelled audiences. What happened to Otto and how can one best appreciate and enjoy those confounding later works?