A wealthy Hong Kong housewife, Anna, lives a spoiled, bored life. When her husband suddenly leaves, taking the money and prestige with him, she refuses to accept her changed circumstances. Her chauffeur, Fai, who lives in an ugly barrack across the border in Shenzhen, is trying to get his wife—whose second pregnancy is a violation of the Chinese one-child policy—over the border so she can give birth in Hong Kong.
Over the course of a midsummer night in Fermanagh in 1890, an unsettled daughter of the Anglo-Irish aristocracy encourages her father's valet to seduce her.
Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.
Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.
A mute Scottish woman arrives in colonial New Zealand for an arranged marriage. Her husband refuses to move her beloved piano, giving it to neighbor George Baines, who agrees to return the piano in exchange for lessons. As desire swirls around the duo, the wilderness consumes the European enclave.
A family loaded with quirky, colorful characters piles into an old van and road trips to California for little Olive to compete in a beauty pageant.
Filmmaker Molly Gandour, in her mid-20s, returns to her childhood home in Indiana to speak with her parents in depth for the first time about her sister's death from cancer sixteen years earlier. The filmmaker comes of age as she weaves a deeply observed portrait of a family unearthing a long ago loss. Unflinching and poignant, Peanut Gallery shows us how we can transform when we begin to fill the silences between those closest to us.
This underwater ballet is an ecological story depicting our paradoxical relationship with plastic. Bakelite launched the #SickOfPlastic campaign from On Est Prêt, along with the Surfrider Foundation, Break Free from Plastic and the Resilient Foundation. Photography was directed by Jacques Ballard, a specialist in underwater cinematography.
Michael White might just be the most famous person you’ve never heard of. A notorious London theatre and film impresario, he produced over 300 shows and movies over the last 50 years. Bringing to the stage the risqué productions of Oh! Calcutta!, The Rocky Horror Show and to the screen Monty Python’s The Holy Grail, as well as introducing Merce Cunningham, Pina Bausch and Yoko Ono to London audiences, he irrevocably shaped the cultural scene of the 1970s London. Playboy, gambler, bon vivant, friend of the rich and famous, he is now in his eighties and still enjoys partying like there’s no tomorrow. In this intimate documentary, filmmaker Gracie Otto introduces us to this larger-than-life phenomenon. Featuring interviews with 50 of his closest friends including Anna Wintour, Kate Moss, John Waters and Barry Humphries and, of course, the man himself, Otto pays a vibrant tribute to a fascinating entertainer.
‘You have no choice about being here, you’ll have no choice about when you leave’ proclaims a woman in Xiaolu Guo’s latest film, a documentary about the personal and physical journeys of the people of London’s East End. Herself an immigrant to the area, Guo’s sensitive character studies hint at an affinity with the push and pull of feelings of alienation, a theme she has previously explored as a filmmaker (She a Chinese, LFF 2009) and novelist (A Concise Chinese-English Dictionary for Lovers). This empathy is also apparent in her playful stylistic approach that layers Warhol-esque news reports, archival material and a soundtrack including Linton Kwesi Johnson and Fela Kuti, to comment on the human cost of capitalism. The resulting film is both a penetrating portrait of a frenetic place that feels deeply authentic, and a powerful piece of protest film.
When Marvin Hamlisch passed away in August 2012 the worlds of music, theatre and cinema lost a talent the likes of which we may never see again. Seemingly destined for greatness, Hamlisch was accepted into New York’s Juilliard School as a 6-year-old musical prodigy and rapidly developed into a phenomenon. With instantly classic hits ‘The Way We Were’ and ‘Nobody Does It Better’ and scores for Hollywood films such as The Swimmer, The Sting and Sophie’s Choice and the Broadway juggernaut A Chorus Line; Hamlisch became the go-to composer for film and Broadway producers and a prominent presence on the international Concert Hall circuit. His streak was staggering, vast, unprecedented and glorious, by the age of 31 Hamlisch had won 4 Grammys, an Emmy, 3 Oscars, a Tony and a Pulitzer prize: success that burned so bright, it proved impossible to match.
Luise, called Pünktchen, and Anton are closest of friends. Being the daughter of a wealthy surgeon, young Pünktchen lives in a great house. Her mother, who always travels through the world more for public relation reasons than for the social tasks she pretends to fulfill, is never available to her as a mother. Anton, son of a single and sick mother in financial trouble, does his best to help her out of it by working late. Pünktchen decides to help her only friend (as nobody else would anyway) and starts singing in public places. Trouble arises when Anton can't resist stealing a golden lighter and Pünktchen's secret life is discovered by her parents. Two troubled families finally can see the need for actions to be taken.
After the death of his mother, a young boy calls a radio station in an attempt to set his father up on a date. Talking about his father’s loneliness soon leads to a meeting with a young female journalist, who has flown to Seattle to write a story about the boy and his father.
A very old lady has lost her way in a city and a distinguished gentleman decides to follow her home.
Tina and her cousin Max cannot stand their Grandma's bad soup, scorching summer heat and utmost boredom any more. Both of them wish they were somewhere else, with some other people. Unfortunately, they only have each other.
A young woman attempts to deal with the death of her boyfriend while continuously confronted by his mentally unstable mother.
Russian avant-garde filmmaker Sergei Eisenstein and German playwright Bertolt Brecht recount the brief portions of their lives they spent in Hollywood trying to make art that was both radical and popular.
An exploration of Soviet director Sergei Eisenstein's notes and drawings for a science fiction movie that he pitched to Paramount in 1930 about the residents of a skyscraper with walls and floors of clear glass.
The saga of a movie treatment written by German playwright Bertolt Brecht during his unhappy stint in Hollywood based on a Life Magazine article about a farm family who win a week's stay in a model home at the Ohio State Fair, with the catch that they will be on display to the public.