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An intimate portrayal of the everyday lives of Carthusian monks of the Grande Chartreuse, high in the French Alps (Chartreuse Mountains). The idea for the film was proposed to the monks in 1984, but the Carthusians said they wanted time to think about it. The Carthusians finally contacted Gröning 16 years later to say they were now willing to permit Gröning to shoot the movie, if he was still interested.
This short documentary tells the story of a cheese—the famous Oka—and of the monks who make it. The Trappists in Oka, Quebec, began making the cheese around 1890, when a Trappist monk from France taught them the recipe, which dates back to the 11th century. Today, Brother Albéric continues to make the cheese at an abbey in Manitoba according to traditional methods and a secret recipe written in a mysterious notebook.
In his lifetime, Thomas Merton was hailed as a prophet and censured for his outspoken social criticism. For nearly 27 years he was a monk of the austere Trappist order, where he became an eloquent spiritual writer and mystic as well as an anti-war advocate and witness to peace. Merton: A Film Biography provides the first comprehensive look at this remarkable 20th century religious philosopher who wrote, in addition to his immensely popular autobiography The Seven Storey Mountain, over 60 books on some of the most pressing social issues of our time, some of which are excerpted here. Merton offers an engaging profile of a man whose presence in the world touched millions of people and whose words and thoughts continue to have a profound impact and relevance today.
Just outside of Paris, there is a community of Benedictine nuns. They come from diverse backgrounds and do not all speak the same language. In between prayers, they work to sustain their religious community. They sell handmade rosaries and operate guest rooms where they also accommodate refugees in need of shelter, such as Halyna, who fled from Ukraine. The older nuns teach the younger ones, transcending cultural boundaries. Every day, the sisters learn to live together a little better, always following the rules of Saint Benedict, whom they have followed into this cloistered life.
The plot of the film unfolds in the ancient monastery of Dokhiar on the west coast of Mount Athos, on the Aegean peninsula. This peninsula is given to the exclusive use of the monks of Eastern Christianity. Images of nature are woven into a virtually uninterrupted series of work and prayer, lining up in the rhythmic interrelation of man and nature. The central figure of the film was the monastery’s elder, Hegumen Gregory, whose long-term experience of spiritual nourishment rewarded him with a deep understanding of the human soul and her desire to return to the state characteristic of Adam’s human nature before the fall.
The nuns of the Anglican Benedictine Community at St. Mary's Abbey, West Malling, reflect on their calling and the joys and challenges of their way of life. In this short documentary, directed by Jamie Hughes, the nuns' voices are complemented by images from the life of the Abbey.
The oldest Quebecois Benedictine convent open its gates to a documentary filmmaker for the first time. Observed up close, life behind its walls is busier than one would expect. About twenty cloistered nuns, most of them over 70, share their daily life with diligence and humor. A contemplative portrait of a community of sisterhood and solidarity emerges, punctuated by prayer, work and games evenings.
For centuries, many men and women have left everything to dedicate their lives to contemplation. LIBRES, is a journey into the interior of man. We have obtained permission to enter and speak with people who rarely speak, in places that remain closed to the world: monasteries. What leads a person to divest himself of the world he knows, to withdraw from it for the rest of his life? How does such a person think? LIBRES approaches great questions of the existence of man, with a single objective: to listen to them.
DEVOUT reveals an archaic utopia, a timeless spiritual sphere that is as beautiful and harsh as the mountain terrain of the Caucasus, tempting but unforgiving, a riddle like God and faith as mysterious as the human condition.
An evocative and unsettling journey through christian and also deeply communist Kerala. Amidst red flags and altar boys, between the sea and the jungle, mixing the language of reportage and that of fable, the unedited docufilm tells the touching, profound, at times funny stories of a group of priests and nuns in the days leading up to Easter.
The life of Saint Benedict, the founder of Western Monasticism.
Region of Occitania, France, 1792. As the storm of revolution devastates the country, young monk Gabriel and his companions live peacefully in the Franciscan monastery of Saorge, near the Italian border. But everything changes with the arrival of the beautiful Marianne and a military detachment.
Poland, 1945. Mathilde, a young French Red Cross doctor, is on a mission to help the war survivors. When a nun seeks for her help, she is brought to a convent where several pregnant sisters are hiding, unable to reconcile their faith with their pregnancy. Mathilde becomes their only hope.
Curly Mulligan is the pupil who brings the headmaster a full fry-up every morning. When the head finds a hair in his breakfast, all hell breaks loose.
Made entirely on Roger Wagner's HyperStudio software, Chris Marker explores set theory, using Noah's Ark as an example.
Chris Marker’s Bullfight in Okinawa is a bizarre, 4 min documentary that introduces viewers to Japan’s subterranean past time of bullfighting. Part of Markers five-film “Bestiary” series, Bullfight employs observational documentary techniques and, in particular, Marker’s camerawork is impressive — tight framed shots, free-hand pans, and quick zooms all contribute to the film’s urgent sense of tension — and, if it weren’t for the suspense inducing music, this short-gem would be damn close to pure objective documentary cinema.
A young man, who served as a peacekeeper in Bosnia and Herzegovina for a few months during the war, recounts his experiences. Throughout the film, we only see his face filmed in close-up, along with a few photos. The interview acts as a strong testimony to the failure of the international community in the Yugoslav crisis.