On the surface, this collection of shorts by up-and-coming African American filmmakers arrived at a perfect time. The cutting-edge products of the New Black Cinema of the early '90s had disappeared, giving way to embarrassingly stereotypical, scatological fare such as Booty Call and Next Friday. This feature-packed compilation (which includes production notes, interviews with all of the filmmakers, and audio commentary by four) attempts to prove that African American cinema is intent on moving past the lowbrow humor, as six of the seven shorts steer clear of any comedy.
On the surface, this collection of shorts by up-and-coming African American filmmakers arrived at a perfect time. The cutting-edge products of the New Black Cinema of the early '90s had disappeared, giving way to embarrassingly stereotypical, scatological fare such as Booty Call and Next Friday. This feature-packed compilation (which includes production notes, interviews with all of the filmmakers, and audio commentary by four) attempts to prove that African American cinema is intent on moving past the lowbrow humor, as six of the seven shorts steer clear of any comedy.
2000-08-01
0
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
After reading a newspaper article regarding old Tightwad's rise in the world, Bill and Jim hit upon a plan to get some of Tightwad's easy money by holding young Tightwad for ransom. They accordingly hire a rig, take the boy and conceal him in a cave. The boy, instead of weeping and wailing for home and mother, proclaims himself "Red Chief" and makes it uncomfortable for his captors. (Moving Picture World)
Documentary about influential Brazilian sociologist Gilberto Freyre, made in his country house in Apipucos, Pernambuco (Northeast Brazil).
Mike and Sulley are back at Monsters University for a fun-filled weekend with their Oozma Kappa fraternity brothers. The gang is throwing their first party, but no one’s showing up. Luckily for them, Mike and Sulley have come up with a plan to make sure “Party Central” is the most epic party the school has ever seen.
After receiving the key to the city for their heroic efforts, Rocket J. Squirrel notices that Bullwinkle falls in love with a robotic moose. Unbeknownst to him, inside the moose is Boris Badinov, who, along with Natasha Fatale and Fearless Leader, are carrying out another plan to eliminate Rocky & Bullwinkle.
In school, 9-year old Julian gets into trouble for squealing a bully and therefore disturbing class.
Two Pilots present software at a convention after the tragic death of their friend.
A man ran into a woman on a street. She was not attractive, but was a perfect girl for him. After missing the chance to talk to her, he contemplates on how he should have approached her.
An ordinary day - so an eventful one - of Tom Katt, a young man who works as a drugstore owner's assistant: his - very acrobatic - bike ride to his place of work; the - fanciful - way he performs his job; the - ingenious - subterfuge he finds to help his employer, who has money problems; the - swift - way he escapes the cops chasing him...
Student Shurik has just two hours before the beginning of the exam and he has no lectures notes.
A portrait of Robert, a troubled but poetic soul struggling with his purgatorial existence in a hackney scrapyard.
A writer taking a rest in a country hotel is obsessed with a strange woman in the same hotel. The woman seems to observe him in provocative ways, but he does not dare to approach her. One day he follows her to her room and listens to strange “erotic” sounds from inside, and begins to have erotic thoughts.
A fake commercial for a lesbian telephone hot line. A short by Kyle Dunnigan and Tig Notaro.
The Kabul National Museum, once known as the "face of Afghanistan," was destroyed in 1993. We filmed the most important cultural treasures of the still-intact museum in 1988: ancient Greco-Roman art and antiquitied of Hellenistic civilization, as well as Buddhist sculpture that was said to have mythology--the art of Gandhara, Bamiyan, and Shotorak among them. After the fall of the Democratic Republic of Afghanistan in 1992, some seventy percent of the contents of the museum was destroyed, stolen, or smuggled overseas to Japan and other countries. The movement to return these items is also touched upon. The footage in this video represents that only film documentation of the Kabul Museum ever made.
Featuring new, previously unseen footage documenting the bizarre and unsettling things that happened to filmmakers David Farrier and Dylan Reeve as Tickled premiered at film festivals and theaters in 2016. Lawsuits, private investigators, disrupted screenings and surprise appearances are just part of what they encounter along the way. Amidst new threats, the duo begins to answer questions that remained once the credits rolled on Tickled, including whether the disturbing behavior they uncovered will ever come to an end.