In 1970, Brazil was in the throes of a military dictatorship that lasted 20 years. Persecutions, arrests, killings, kidnappings. The film Seventy rejoins 18 characters of this story, forty years later. The film mixes the excitement of revisiting the past with a vision, sometimes even good humored of everything they lived. Many years afterwards they relive their experience of pain, violence and survival, of rebuilding their own story and continuing to believe in the possibility of improving the world.
Self
Self
Self
Self
Self
Self
Self (archive footage)
Self
Self (archive footage)
Self (archive footage)
In 1970, Brazil was in the throes of a military dictatorship that lasted 20 years. Persecutions, arrests, killings, kidnappings. The film Seventy rejoins 18 characters of this story, forty years later. The film mixes the excitement of revisiting the past with a vision, sometimes even good humored of everything they lived. Many years afterwards they relive their experience of pain, violence and survival, of rebuilding their own story and continuing to believe in the possibility of improving the world.
2013-09-13
6.3
An elder brother who lived a life of crime but left to show his younger brother the lifestyle is not fit for anything. Years later his younger brother takes his footsteps in the life of drugs/crime, to a deal gone wrong his younger brother is murdered, his elder brother steps back into his crime ways and to find and avenge his younger brother's death.
Construction company owner John Matthews learns that his estranged son, Jason, has been arrested for drug trafficking. Facing an unjust prison sentence for a first time offender courtesy of mandatory minimum sentence laws, Jason has nothing to offer for leniency in good conscience. Desperately, John convinces the DEA and the opportunistic DA Joanne Keeghan to let him go undercover to help make arrests big enough to free his son in return. With the unwitting help of an ex-con employee, John enters the narcotics underworld where every move could be his last in an operation that will demand all his resources, wits and courage to survive.
Documentary about the making of American Pie (1999), American Pie 2 (2001) and American Wedding (2003).
Hello explores changes in two people’s working lives: a Mexican trash picker who separates and collects recyclable materials from landfills to sell by the kilo, and a German freelance computer-animation designer working for the advertising industry in Berlin. The double interview is controlled and manipulated by a computer-generated severed hand which Maria describes as an object once discovered in the trash while working in the violent northern town of Mexicali. This CGI hand was in turn produced by Max, who was born with no arms, and sought refuge in computer-imaging as a means to operate and manipulate a digital reality.
The film tells the story of three best friends named Ako, Aki and Awang, who are well-known in their village for their mischievous and humourous pranks. The trio work for Pak Man. One day, they are assigned to pick up his daughter Misha, who has just returned from overseas and dreams of becoming a doctor. The trio have been in love with her for a long time but she does not pay them any heed. When Misha is robbed by a snatch thief one day, she is rescued by a doctor named Shafiq. Her face reminds the doctor of his late wife, and he begins to pursue her, which annoys the trio.
Arthur answers a distress call from Princess Selenia, who is menaced by the nefarious Maltazard.
When Max (Eric Stoltz), urged on by "Risk Management," a self-help book for the hapless, decides to approach his fellow ferry-commuter Rory (Susanna Thompson), he hopes simply saying hello might change his life for the better. But Rory only accepts contact by contract. Max finds he can play along. As the two negotiate a whirlwind relationship on paper, Rory slowly lets down her guard; but when her unresolved personal life intervenes in the form of Donald (Kevin Tighe), Max must manage a little more risk than he bargained on.
Hitch a ride into the dark heart of Australia with Soda_Jerk's TERROR NULLIUS, a blistering, badly behaved sample-based film that confronts the horror of our contemporary moment. Equal parts political satire, eco-horror and road movie, TERROR NULLIUS is a rogue remapping of national mythology, where a misogynistic remark is met with the sharp beak of a bird, feminist bike gangs rampage and bicentenary celebrations are ravaged by flesh-eating sheep. By intricately remixing fragments of Australia's pop culture and film legacy, TERROR NULLIUS interrogates the unstable entanglement of fiction that underpins this country's vexed sense of self.
The music video Timro Chanchale Chulbule Yoban weaves a story of longing, fleeting connections, and unfulfilled desires. Aanchal and Udip, a married couple from Nepal, are struggling with an unhappy relationship. Seeking a break, Aanchal travels to the UK for a holiday. Meanwhile, Paul, a handsome and strong man living in London, dreams of finding the perfect woman to marry. Their paths cross at Tower Bridge, where Paul is instantly captivated by Aanchal's beauty. Mesmerized, he begins to follow her through the city-Tower Bridge to Waterloo Station, and finally to London Bridge-imagining a future together filled with love and happiness. But when Paul turns to approach her, Aanchal suddenly disappears. Reality strikes, and Paul learns she is already married, her sadness hidden behind her beauty. This realization brings Paul back to reality, leaving him to reflect on the bittersweet nature of love and missed chances.
How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.
A young actress arrives late to a casting, making up a great excuse without knowing a small detail.
‘RETURN’ follows Torstein Horgmo, Mikey Ciccarelli, Mons Røisland, Brandon Cocard, Brandon Davis, and Raibu Katayama as they push the boundaries of what can be accomplished snowboarding when innovative minds join forces.
A film about the Yakut rock musician Gavril Kolesov - Hannibal.