
On the Pole: Eddie Sachs(1961)
A direct-cinema portrait of Indianapolis 500 driver Eddie Sachs, filmed before, during, and after the 1960 race as he competes from pole position. Using pioneering mobile camera and sound techniques, the film captures the psychological intensity of racing and the personal cost of high-speed competition.
Movie: On the Pole: Eddie Sachs
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6.5Champs(en)
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7.5Listen to Me Marlon(en)
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6.9The Sun's Gonna Shine(en)
A lyrical recreation of Lightnin’ Hopkins’ decision at age eight to stop chopping cotton and start singing for a living. Preserved by the Academy Film Archive in 2013.
5.6Women in Defense(en)
Short documentary extolling the virtues and necessity for women to participate in America's preparation for war, showing women working in scientific, industrial, and voluntary-services activities. Preserved by the Academy Film Archive in 2008.
6.7Showman(en)
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Les Blank's poetic documentation of 1967's Los Angeles Easter Sunday Love-In. Preserved by the Academy Film Archive in 2002.
6.0The Town(en)
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6.7Sikkim(en)
Satyajit Ray's poetic documentary was commissioned by the Chogyal (King) of Sikkim at a time when he felt the sovereignty of Sikkim was under threat from both China and India. Ray's documentary is about the sovereignty of Sikkim. The film was banned by the government of India when Sikkim merged with India in 1975. The ban was finally lifted by the Ministry of External Affairs in September 2010. Preserved by the Academy Film Archive in 2007.
Screen Actors(en)
This short film takes a look at the off-screen personas of screen actors. Preserved by the Academy Film Archive in 2012.
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7.6Hoop Dreams(en)
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8.0A Crime to Fit the Punishment(en)
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7.1The Maltese Cross Movement(en)
The film reflects Dewdney's conviction that the projector, not the camera, is the filmmaker's true medium. The form and content of the film are shown to derive directly from the mechanical operation of the projector - specifically the maltese cross movement's animation of the disk and the cross illustrates graphically (pun intended) the projector's essential parts and movements. It also alludes to a dialectic of continuous-discontinuous movements that pervades the apparatus, from its central mechanical operation to the spectator's perception of the film's images... (His) soundtrack demonstrates that what we hear is also built out of continuous-discontinuous 'sub-sets.' Preserved by the Academy Film Archive in 2009.
6.5Primary(en)
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