This short documentary film captures the natural movement of the moon mixed with an experimental musical track that accompanies the rhythm of the "walk" on the stage that the protagonist occupies, the sky.
This short documentary film captures the natural movement of the moon mixed with an experimental musical track that accompanies the rhythm of the "walk" on the stage that the protagonist occupies, the sky.
2024-04-18
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Nishika 3D cameras were the inexpensive cousins to the Nimslo 3D cameras made in the mid to late 1980's (the Nimslo cameras used glass lenses, while the Nishika ones used plastic lenses). The cameras used regular 35mm film that captured 4 simultaneous images onto 2 frames of film. These images were printed onto photo stock with a lenticular surface bonded to it which allowed 3D to be seen without glasses, like the old kids story books with the 3D covers. The basic 3D camera kit came with this VHS instructional video that was hosted by Vincent Price. It was one of the last things he did.
A radio salesman gets knocked out by a golf ball and dreams he's in the desert where he sells radios to sheiks.
Any given Sunday of 1974 in Spain, soccer games in several stadiums, the sarcastic voice of commentators, the inevitable presence of advertising. Goal! The victors and the defeated.
A documentary about socialising and society in early 1970s New Zealand.
Beloved by audiences for over a decade, Here TV's original movie "Shelter" is celebrated with an in-depth discussion with stars Trevor Wright and Brad Rowe, along with director Jonah Markowitz.
Filmmaker/activist Melaw Nakehk’o has spent the pandemic with her family at a remote land camp in the Northwest Territories, “getting wood, listening to the wind, staying warm and dry, and watching the sun move across the sky.” In documenting camp life—activities like making fish leather and scraping moose hide—she anchors the COVID experience in a specific time and place.
Thursday shot from filmmaker Galen Johnson's high-rise apartment during COVID-19 “lockdown” in Winnipeg, captures people going about their daily routines in the city's eerily empty streets, yards and parking lots, on their balconies and on the riverbanks. The extreme distance and the diminutive scale of humans is paired with sound close-ups—a combination that embodies the strange, heightened intensity of feeling of the time, knowing an era-defining tragedy is happening yet being so physically removed.
Almost 200 women file by a device on the wall from which they take their time checks. A man runs half-way across the screen at the end of the film.
A camera on an overhead crane travels down a large, long aisle where men are shown working on large machinery on either side. Carts carrying equipment are shown traveling on rails down the aisles. There are also men walking in the aisles. From Bitzer's Westinghouse Works series.
On the left of the screen, a small group of men lift the top off of what appears to be a turbine with a crane and continue to check the machine, tightening various parts with wrenches. On the right side, a few men appear to be testing the workings of what may be a turbine.
A 2008 short made in accompaniment with Our Beloved Month of August, documenting Gomes's and his crew's hapless search, during 2007's carnival, for one of Arganil's most storied and elusive characters (who does, in fact, ultimately appear as an interviewee/player in the finished film). Paulo "Miller" is known for taking a dangerous jump into the Alva from a bridge each year during carnival, but what this film is about is, in keeping with the free-roving feature, much less the subject himself than Gomes and co.'s inability to pin him down; not only does he not do his famous jump during this year's carnival, but an ostensible technical/audio failure (as with the feature, it's very difficult to say how much of this film is "fact," how much invented) during Gomes's initial on-camera meeting with Paulo "Miller" leads to five minutes of lip-readers attempting to decipher their conversation.
The subject is two grotesque-looking human beings who are sitting on the deck of a ship. The two weird individuals sit cross-legged and do the bidding of a man in oriental costume. The point of the film seems to be directed at the fact that the bone structure of the two subjects makes them look like monkeys or apes, and the spectators seem to be trying to get them to behave like monkeys, that is, scratch themselves, etc.
For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.
A group of military men uses explosives to de-root trees.
An interview with cinematographer Richard H. Kline talking about his filming experience in Brian De Palma's film The Fury.
This scene is a part of the very first film shot produced by the Manaki Brothers. Despina, the Janaki and Milton Manaki's grandmother, was recorded weaving in one high-angle shot. For no apparent reason, the first shot made in Macedonia, in the Balkans in fact, made by these two cinematography pioneers, contains peculiar symbolics: at the moment when the grandmother Despina spins the weaving wheel, film starts rolling in our country.
In a small village ruled by ridiculous laws, three singing sisters and their dog rehearse for the Annual Autumn Festival. But an unexpected event will disrupt their plans.