1997-01-01
6
In 1570 B.C., Rome was a marsh, the Acropolis an empty rock, but Egypt was 1,000 years old. The pyramid-builders were gone, yet Egypt still awaited its New Kingdom, an empire forged by conquest and remembered for eons. EGYPT'S GOLDEN EMPIRE comes to life through letters and records evoking the passion and riches of a time when Egypt was the center of the known world, its Pharaohs called gods, and great cities, temples and tombs built.
A secret support group meets to take back something stolen from them in childhood.
An unfortunate mix-up leaves an unsuspecting victim in a situation of life or death.
Delves deep into the anxiety, thrill and uncertainty of six aspiring animation artists as they are plunged into the twelve-week trial-by-fire that is the NFB's Hothouse for animation filmmakers.
Five tales of terror including cursed online music, satanism and murder, returns from the dead, hideous creatures hiding in the woods and one vengeful videotape.
School is over for the day. A stationary camera is trained on the door of the high school at the top of a few stairs. A man and small boy emerge, followed by wave after wave of boys, each in jacket and tie, most wearing caps. A few are arm in arm. At least 150 boys and young men appear. Then about 120 women and girls appear, parting to go in either direction down the sidewalk in front of the school. All are in long skirts and wear big hats; most wear blouses and jackets or coats. Some are adults; most seem older than the boys who've left just ahead of them. The last person to leave is a gentleman.
A serial killer and the detective who tracked him down find themselves in an unexpected stalemate.
When Fred suspects that his new music teacher is a vampire, he and his friend Bertha set out to save the town from this garlic-hating fiend.
Eustace and Dorrie Edgehill have decided to leave Samola, a British protectorate in the Pacific. After the failure of his latest harebrained scheme, no one is likely to give Eustace a job now. Or are they?
This is not a film by Khavn. A crime-thriller retro-road movie based on the Kuratong Baleleng Rubout Massacre of 1995.
A World War I veteran takes on the Ku Klux Klan when he loses his wife to a womanizing Klansman. Preserved by the Academy Film Archive in partnership with University of Nevada, Las Vegas Foundation.
It takes the Earth 24 hours to rotate around its axis, 7 rotations in a week, and 365 spins to make a ski film. The making of a ski film is not a hobby for us, but a way of life. Our talented group of athletes train year round, work odd jobs, and dream throughout the off season of what the upcoming season will bring. The filming season begins at the first sighting of snowflakes in November and comes to conclusion with the summer heat waves mid June. In 2008, Rage Films witnessed an unbelievable year that was unsurpassed by others as Rage won award after award, including Best Core Film at X-Dance and Best Film at IF3. This is a reflection on the dedication, perseverance, loyalty, and excitement the crew works for all year. Such is our lives. Such is life.
Captain Kirk. T.J. Hooker. Denny Crane. Big Giant Head. Alexander the Great. Henry V. Priceline’s Negotiator. These are but a handful of the innumerable masks worn by William Shatner over seven extraordinary decades onstage and in front of the camera. A peerless maverick thespian, electrifying performer, and international cultural treasure, Bill (as he prefers to be called), now 91 years young, is the living embodiment of his classic line “to boldly go where no man has gone before.” In unprecedented fashion, You Can Call Me Bill strips away all the masks he has worn to embody countless characters, revealing the man behind it all.
A lost film, directed by William K.L. Dickson about two men wrestling.
Founders of Coil, a cult entity of experimental industrial British music, Peter Christopherson and John Balance also directed films from 1970 to 1980, exhumed and restored by Timeless. Shot on 8 and 16mm film, these unclassifiable subversive marvels, unsettling and trippy, garbed in gay masochist aesthetics, are as much family films, performances, body horror and urban nightmares. They're above all characterized by a tormented imagination under the sign of Eros and Thanatos with an irrepressible taste for death. There was an empty space next to Antony Balch, Derek Jarman and Jean Genet : it's no longer vacant. Maxime Lachaud and Reivaks Timeless deliver a unique document, haunted by the duo’s music, with this one way journey into limbo, where they’re joined by the recently deceased Monte Cazazza, a founding father of the concept of industrial music.