Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.
Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.
2008-06-20
5.8
For more than thirty years, and through his television program, Fred Rogers (1928-2003), host, producer, writer and pianist, accompanied by his puppets and his many friends, spoke directly to young children about some of life's most important issues.
The cruel and abusive headmaster of a boarding school, Michel Delassalle, is murdered by an unlikely duo -- his meek wife and the mistress he brazenly flaunts. The women become increasingly unhinged by a series of odd occurrences after Delassalle's corpse mysteriously disappears.
Energetic priest Don Camillo returns to the town of Brescello for more political and personal duels with Communist mayor Peppone.
Bewildered, Don Camillo learns that Peppone intends to stand for parliament. Determined to thwart his ambitions, the good priest, ignoring the recommendations of the Lord, decides to campaign against him.
Tyler is a young man who is desperately seeking direction from a world that seems to have abandoned him. Searching for answers he looks to his new friend Indrid who appears to have it all figured out.
A fun roller coaster ride about three young people, Aju, Divya and Kuttan who are cousins, reach Bangalore to dream, discover & explore!
Posing as hunters, a group of terrorists are in search of $100 million that was stolen and lost in a plane crash en route from Afghanistan.
A bank robber becomes a teacher after being released from prison and finds himself at the center of a number of crazy adventures.
When Max, who is recovering from a traumatic accident, takes a job as a nighttime security guard, he begins to see visions of a young mysterious woman in the store's mirror.
Documents the lives of infamous fakers Elmyr de Hory and Clifford Irving. De Hory, who later committed suicide to avoid more prison time, made his name by selling forged works of art by painters like Picasso and Matisse. Irving was infamous for writing a fake autobiography of Howard Hughes. Welles moves between documentary and fiction as he examines the fundamental elements of fraud and the people who commit fraud at the expense of others.
The Lindenhof School is expecting a busload of proper young English ladies as exchange students. The shock is great when the students turn out to be teenage boys! But while Mademoiselle Bertoux is delighted to stage “Romeo and Juliet” with real boys, both Hanni and her sister Nanni fall for their “Romeo,” Clyde.
While investigating the horrifying death of her boyfriend, Mai Takano learns about a videotape haunted by the spirit of a disturbing girl named Sadako, which kills anyone who watches it exactly one week later. When her boyfriend’s son, Yoichi, starts to develop the same psychic abilities as Sadako, Takano must find a way to keep the boy and herself from becoming the next victims.
Giorgio and Tito, father and son. A successful journalist and a lazy teenager apparently impossible to understand. Giorgio's dream is to take Tito to the Nasca Hill in Liguria, but Tito prefers to spend his entire day with his group of friends, eating, talking about nothing and playing video games. Until one day when he suddenly informs his father that he would join him in this trip. After a series of accidents and misunderstandings, at the end, somehow father and son will find the way to communicate … or at least they will try.
In this sequel to the 1980 classic, two children are stranded on a beautiful island in the South Pacific. With no adults to guide them, the two make a simple life together and eventually become tanned teenagers in love.
The Return is a 2016 documentary directed by Emmy Award winning director Erich Joiner chronicling Ford GT's return to 24 Hours of Le Mans after their 1966 1-2-3 victory.
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.
In 1870s America, a peaceful American settler kills his family's murderer which unleashes the fury of a notorious gang leader. His cowardly fellow townspeople then betray him, forcing him to hunt down the outlaws alone.
After experiencing a traumatic misfortune, Jasmine French, a wealthy woman from New York, moves to San Francisco to live with her foster sister Ginger and the firm purpose of getting a new life, but she will be haunted by anxiety and memories of the past.
A camera crew catches up with David Brent, the former star of the fictional British series, "The Office" as he now fancies himself a rockstar on the road.
"In the first shot of Reinke’s new feature length video, we see the desert landscape of the American Southwest from a car window. Though shaky and handheld, it is an immediately recognizable and iconic image: the great vistas of Hollywood westerns, of American westward expansion, of monumental modernist land art from the late 20th century. On the soundtrack, Reinke’s unmistakable voice apologizes for beginning the film with a shot of a landscape from a moving car, but what is he to do? The camera is already rolling. This moment encapsulates much of what transpires in the scenes that follow: presenting us with an image, dismissing that image and wryly suggesting he is doing nothing here, that the footage is just unreeling. Reinke’s collection and organization of images and sounds seem casual at first, but ultimately reveal themselves to be heavily mediated and orchestrated."
Inside the claustrophobic scenery of a fancy apartment in the city of Frankfurt three men and a woman lock themselves in for ten days. Oskar and Julia are a couple. They have sex and let themselves be filmed. Benjamin and Bastian are behind the camera, trying to get pictures of absolute intimacy. Closeness as it can only be found among lovers.
As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.
Featuring a cast that includes Sonic Youth's Kim Gordon and Thurston Moore, Mike Watt of the legendary hardcore band Minutemen, and Pettibon himself, this deadpan narrative pays dubious homage to the 1960's radical underground. In this crudely rendered home video of a commune of stoned revolutionaries, the cameras are hand-held, the edits in-camera, and the dialogue is wryly on-target. Pettibon's band of outsiders reenacts a countercultural moment defined by rock music, drugs, and ideological paradox — and in so doing, captures their own late-80's West Coast grunge milieu as well.
Through the uses of kinescope, video, multimedia, and direct painting on film, an impression is gained of the frantic action of protoplasm under a microscope where an imaginative viewer may see the genesis of it all. – Grove Press Film Catalog
A psychiatrist and his patient discuss their relationship in a snow-covered field.
First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.
Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".
A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page.
Landow rejects the dream imagery of the historical trance film for the self-referential present, using macrobiotics, the language of advertising, and a speed-reading test on the definition of hokum. The alienated filmmaker appears, running uphill to distance himself from the lyrical cinema, but remember, "This is a film about you, not about its maker."
Portrait of Costa da Morte (coast region in Galicia, Spain) from an ethnographic and landscape level, exploring also the collective imagination associated with the area. A region marked by strong oceanic feeling dominated by the historical conception of world's end and with tragic shipwrecks. Fragmentary film that approaches to the anthropological from its protagonists: sailors, shellfish, loggers, farmers ... A selection of characters representative of the traditional work carried out in the countryside in the region, allowing us to reflect on the influence of the environment on people.
Kinkón (1971), a silent adaptation of Merian C. Cooper and Ernest B. Schoedsack’s 1933 classic, King Kong. Zulueta re-filmed a television broadcast of the original, and through creative subtraction and manipulation of camera speed, condensed the original’s feature length to an intensified seven minutes. The cathode-ray flicker and flattening that results from the re-filming defamiliarises the original, but its classical continuity mode of address continues to operate on the viewer, and the increase in velocity makes mesmerisingly urgent the dramatic plot of the original. —Senses of Cinema
Ensemble for Somnambulists was a film Maya Deren made while teaching a workshop at the Toronto Film Society. It was never completed, and is officially "unpublished," but this title has been restored and it screens occasionally along with her other films. It is sort of a preliminary sketch for The Very Eye of Night. ~ David Lewis, Rovi
This metaphorical surrealist tale is an allusion. NIGHTINGALES IN DECEMBER is a trip into the memories, and the fields of the current realities. What if the Nightingales were working, instead of singing and going south? Is the innocence the only savior of birdsongs? There are no Nightingales in December... What is left, is only the history of our beginning, and our end.
The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian (Smolders) filling in a few bits of Wiertz’ life.
A family embraces the heart of evil in this Poltergeist remake/drag-show circa 1992.
Originally edited in two versions. Version I, 70 minutes; version II, 90 minutes. (The only known existing version is not Markopoulos’s edit and contains additional titles, music and voice-over added later than 1961. 65 minutes.) Filmed in Mytilene and Annavysos, Greece, 1958. Existing copy on video, J. and M. Paris Films, Athens.
An experimental movie based on a poem of the French writer and director Jean Cocteau about a servant who fantasises about killing the lady of the house.
Avant garde/experimental film. A mesmerizing trip through the psychedelic vastness of space.