Sprecherin
0
When the MV Sewol ferry sank off the coast of South Korea in 2014, over three hundred people lost their lives, most of them schoolchildren. Years later, the victims’ families and survivors are still demanding justice from national authorities.
Claude Ventura's documentary Chambre 12, Hotel de Suede, was made for the French television channel Arte in 1993. Ventura checks into room twelve in the hotel's final week of operation: it is demolished the day after he checks out. Room twelve was one of the principal locations for Jean-Luc Godard's New Wave masterpiece Breathless, and Ventura's documentary investigates the production of Godard's film.
A Thousand Words explores a daughter's relationship with her stroke-stricken father through still pictures and 8mm footage he shot while serving in Vietnam.
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color.
A historic underground gay document. Shocking. Intimate. Taboo. A behind-the-scenes look at the performance art of a millennial artist who travels the world performing in public spaces using the medium of piss, video and the internet to break social norms.
An experimental film of the group Throbbing Gristle in concert.
Korean film critic Jeong Sung-il’s camera explores the work of Wang Bing, a Chinese director who won international fame with his film Tie Xi Qu: West of the Tracks. Jeong’s attempt to pry into Wang’s filmmaking secrets leads to the question: “What is film?”
One aspect of Japanese fantasy films that often goes overlooked is the significant part that women play in the drama.
Louis-Ferdinand Céline described the period he spent in Sigmaringen in his delirious and infernal novel, Castle to Castle, published in 1957. The last months before the German “moment of truth”, as they’ve never been portrayed before: Documented in delirious reality. A documentary film based on Céline’s texts. A screen adaption with documentary material.
An "Ock-umentary" exploring the character of Doc Ock and the way he as well as his tentacles were brought to life on the silver screen.
Three school children visit a dusty library to research the story of 'The Dark Ages'. What they find changes their world view dramatically as ingenious inventors and pioneers of science and culture from the Muslim civilization are vividly brought to life.
First part of a three-part documentary series on the making of Once Upon a Time in the West, Italian filmmaker Sergio Leone's masterpiece, released in 1968. (Followed by The Wages of Sin.)
Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, "Very nice, very nice." The film was nominated for an Oscar for Best Live Action Short Film.
An experimental meditation on Times Square's marquees and iconic advertising that captures the concurrently seedy and dazzling aspects of New York's Great White Way.
On the island of La Gomera, children imagine stories while they examine archeological remains. An ethno-fictional journey in which past and present coalesce, creating resonances between the volcanic landscape and Silbo, the whistled language of the island.
At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton