In late winter when the cold is severe, the people and dogs are glad to stop their trek and make camp. In the blue dusk the men probe the snow and then cut building blocks while the women shovel a site. Soon all are under cover, and in the wavering light of the stone lamp they sleep, their breath rising coldly. In the light of day the men test and refurbish their spears, harness dogs to the sled and strike out on the sea ice. Each man, with a dog or two, explores the white waste, seeking scent of a seal's breathing hole. When a dog noses the snow, the man probes for the hole and, when he finds it, suspends a single looped hair to signal when the seal rises to breathe. Then he waits, motionless, to make his strike. He kills, and the others gather to taste the warm liver of his catch. Then, as night comes, the vigil goes on.
In late winter when the cold is severe, the people and dogs are glad to stop their trek and make camp. In the blue dusk the men probe the snow and then cut building blocks while the women shovel a site. Soon all are under cover, and in the wavering light of the stone lamp they sleep, their breath rising coldly. In the light of day the men test and refurbish their spears, harness dogs to the sled and strike out on the sea ice. Each man, with a dog or two, explores the white waste, seeking scent of a seal's breathing hole. When a dog noses the snow, the man probes for the hole and, when he finds it, suspends a single looped hair to signal when the seal rises to breathe. Then he waits, motionless, to make his strike. He kills, and the others gather to taste the warm liver of his catch. Then, as night comes, the vigil goes on.
1967-12-23
4.7
Max Andreev thought the best place to start a new life would be at the other end of the world. What he didn't know, is that you can't outrun your past.
Someone from another planet crashed on Earth and evil is chasing him, and then love appears, and it defeats evil through an amulet.
Two men at a remote Arctic base begin mistrusting each other after an important radio message.
While scuba diving, Jill's boyfriend Dustin finds a doubloon necklace and the diary of Morganna, a pirate who sailed the coast 200 years ago. With the diary is a treasure map that takes them and their friends Susan and Joe to a mountain cabin. Before setting out in search of the treasure, the four hold a séance using instructions they find in the diary. It brings Morganna and her mate, Captain Tygus, back to life. It's a race for the treasure. Morganna and Tygus will stop at nothing. What about the necklace?
Ultra Music Festival 2015. In the middle of the pouring rain. Dash Berlin wrote history surprising the crowd with one of the most emotional, powerful and energetic sets the festival has ever seen and proved to be right at home at the big main stage.
Work life for Shunsuke Osaki has been success after success, but at some point his family began to slip by the wayside. As his elderly father begins to show signs of dementia, Shunsuke takes the family on a trip in a desperate attempt to pull them together before it is too late. Director Mitsutoshi Tanaka's adaptation of Masashi Sada's short story of the same name received the awards for Best Director, Best Actress and Best Music at the 1st Asia International Film Festival in Taipei.
In addition to the two-part television version of the film, a shorter version was installed to show the film, entitled “Sherlock Holmes in the 20th Century.” In this installation version, in particular, the entire plot of the story “Bruce-Partington Drawings” was deleted. A film version was released before the premiere of the full (two-part) television version of the film.
A devious and psychotic student tries to frame a new girl at school for a teen's accidental death at a party.
With input from actor and writer Jan Hlobil, director and cinematographer Rene Smaal presents a film in the true surrealist tradition, in the sense that only 'found' elements were used, and that it defies interpretation based on ordinary cause-and-effect time sequence.
Pretty Bloody: The Women of Horror is a television documentary film that premiered on the Canadian cable network Space on February 25, 2009. The hour-long documentary examines the experiences, motivations and impact of the increasing number of women engaged in horror fiction, with producers Donna Davies and Kimberlee McTaggart of Canada's Sorcery Films interviewing actresses, film directors, writers, critics and academics. The documentary was filmed in Toronto, Canada; and in Los Angeles, California and New York City, New York in the US.
Loïc Le Tallec never really took care of his son. When the latter disappears in a road accident, Loïc is devastated. He has only one idea in mind: to find the one who lives now with the heart of his son. He falls on Hugo, a young man that this brand new heart makes totally unreasonable and uncontrollable. Their meeting promises to be explosive.
At a moment in time, when humanity is obsessed with food - photographing every dish, worshipping cooks and flaunting trophy meals on social media, this documentary goes under the surface and offers an in-depth, honest and relevant view into the world and every day of Michelin chefs and restaurants. Telling tales from a grand menu of culinary temples as well as digging into the greatness and flaws of Guide Michelin in this golden age of gastronomy. Because we share a great love for the industry that also includes a realistic understanding of things behind the picturesque scenes of the--perhaps--greatest, most creative and dynamic industry in the world.
A retired boxer will return to the ring to face his greatest rival, relying on his daughter, his friends and a famous trainer who will teach him to see the sport from new perspectives.
This documentary closely follows a group of people living in the Bering Strait and delves into the fundamental aspects of their daily lives, their survival, and the contrast between their traditions and the modern world. With extraordinary imagery, Bering portrays exceptionally well a community fighting to preserve its culture in this mythical part of the world.
Two decades after the initial exposé of the corporation, this follow-up unveils a world now fully remade in its image and perilously close to fascism.
Danish documentary filmed in Greenland. Shows a lot of Greenlanders, skiing, hunting for birds, seals and whales, and ice fishing. Filmed by Dr. Leif Folke.
The Living Stone is a 1958 Canadian short documentary film directed by John Feeney about Inuit art. It shows the inspiration behind Inuit sculpture. The Inuit approach to the work is to release the image the artist sees imprisoned in the rough stone. The film centres on an old legend about the carving of the image of a sea spirit to bring food to a hungry camp. It was nominated for an Academy Award for Best Documentary Short.
This documentary shows how an Inuit artist's drawings are transferred to stone, printed and sold. Kenojuak Ashevak became the first woman involved with the printmaking co-operative in Cape Dorset. This film was nominated for the 1963 Documentary Short Subject Oscar.
It is late autumn and the Eskimos travel through soft snow and build karmaks, shelters with snow walls and a roof of skins, in the river valley. The geese are gone but some musk-ox are seen. The man makes a toy sleigh from the jawbones of a caribou and hitches it to a puppy. Next day the women gather stocks of moss for the lamp and the fire. The men fish through the ice with spears. The woman cooks fish while the men cache the surplus. Then the family eats in the karmak. The men build an igloo and the household goods are moved in. They begin the complicated task of making a sleigh, using the skins from the tent, frozen fish, caribou antlers and sealskin thong. The woman works at a parka, using more caribou skin, and the children play. Now the sled is ready to load and soon the family is heading downriver to the coast.
The time is early autumn. The woman wakes and dresses the boy. He practices with his sling while she spreads a caribou skin to dry. The boy picks berries and then the men come in their kayak with another caribou. This is skinned, and soon night falls. In the morning, one man leaves with his bow while the other makes a fishing mannick, a bait of caribou meat. The woman works at the skins, this time cleaning sinews and hanging them to dry. The man repairs his arrows and then sets a snare for a gull. The child stones the snared gull and then plays hunter, using some antlers for a target. His father makes him a spinning top. Two men arrive at the camp and the four build from stones a long row of manlike figures, inukshult, down toward the water. They wait for caribou and then chase them toward the stone figures and so into the water where other men in kayaks spear them. The dead animals are floated ashore and skinned.
Two Eskimo families travel across the wide sea ice. Before night falls they build small igloos and we see the construction in detail. The next day a polar bear is seen basking in the warming sun. A woman lights her seal oil lamp, carefully forming the wick from moss. The man repairs his snow goggles. Another man arrives dragging a polar bear skin. The boy has made a bear-shaped figure from snow and practices throwing his spear. Then he tries his bow. Now, with her teeth, the woman crimps the sole of a sealskin boot she is making. The men are hunting seal through the sea-ice in the bleak windy weather. The wind disturbs the "tell-tales," made of eider down or a hair loop on a bone, that signal when a seal rises to breathe. A hunter strikes, kills and drags his catch up and away. At the igloo the woman scrapes at a polar bear skin and a man repairs a sled. In the warming weather the igloo is topped with furs and a snow shelter is built to hide the sled from the sun.
Late June, and much of the land is bare. There are sounds of running water, and melt ponds shine everywhere. The woman carries heather and moss to camp and the man makes a whirling bullroarer for the boy. Another child pretends to drive a dog sled. A woman is working sinews into bowstrings, while another is busy with a seal skin. A woman prepares to cook a meal and a man makes a bow from bone and sinews. It is a demanding task to combine such materials into a strong supple weapon; the result is pleasing to the man. The next day the men move out on the sea ice with a dog to look for seal pups.
Now it is July - summer. The run-off is in full spate and open water shows offshore. Ice cakes melt on the shingle. On the bay are ducks. It is time to build a kayak, a task shared by two men. They gather materials: valuable scraps of wood, bone, seal skins and sinews. Now there is much cutting, fitting, joining and binding. The woman helps by cutting additional thongs, scraping skins, providing food. She must also amuse the child who seems left out by the single-minded work of the men. Then the work breaks and a man harpoons a fish in a tide pool; all share the pleasure of fresh food.
Full summer, and the tundra is bare; skin tents are up and it is time to attend to the fishing as the fish move upstream. The men are in the river, lifting stones and placing them to form enclosures to trap the fish. A woman skins a duck and then braids her hair in the old way, stiffly around sticks. From a bladder she makes a balloon for the child. The men are fishing with the three-pronged leisters, spearing the fish and stringing them on a thong, until it is as much as a man can do to drag his catch from the water. The woman works quickly, cleaning the fish, and then all enjoy bits of the fresh raw fish.
More signs of winter's end as more wildlife returns. The family makes an excursion for fresh fish from a lake. They build a karmak and move in the furs, cooking troughs, etc. The woman sets up her lamp, spreads the furs and attends to the children. There are signs of returning wildlife. The man moves out on the lake ice and chips a hole for fishing. He baits his hook and lowers it jigging the line to attract the fish. Crouched by the hole, he persists with his purpose and takes some fish, as does his wife who has joined him. Both remain at the hole through a severe blizzard. Please note that this is an archival film that makes use of the word “Eskimo,” an outdated and offensive term. While the origin of the word is a matter of some contention, it is no longer used in Canada. This film is therefore a time capsule of a bygone era, presented in its original version. The NFB apologizes for the offence caused.
The family is on the shore of Pelly Bay in May-June. A seal basks beside its hole under a warming sun. The hunter stalks the seal, kills it and drags it to the family camp on shore. Man and wife skin the seal, cutting the hide into rings that girdle the body. Stripped of blubber, the rings are then cut spirally into long thongs. The boy plays on the shingle imitating the circling gulls, while the man stretches his thongs between rocks and scrapes away the fur. The woman dresses the seal, wasting nothing, braiding the intestines.
In this short docu-fiction film, strong and hardy Inuit hunters demonstrate and test their strength in boxing, tug-of-war, and other strenuous activities. We see and hear the drum dance, a demonstration of Inuit poetry and rhythm.
A portrait of Ulayok Kaviok, one of the last of a generation of Inuit, born and bred on the land. Ulayok and her family, like many Inuit today, strive to balance 2 very different worlds. Her skills in making the sealskin boots called kamik may soon be lost in the cultural transformation overtaking her community. Kamik offers a glimpse of those universes and the thread one woman weaves between them.
Filmmakers Robert Kenner and Melissa Robledo reunite with investigative authors Michael Pollan and Eric Schlosser to take a fresh look at our efficient yet vulnerable food system.
The highly anticipated follow-up to their critically acclaimed VIDEO NASTIES: MORAL PANIC, CENSORSHIP & VIDEOTAPE documentary, director Jake West and producer Marc Morris continue uncovering the shocking story of home entertainment post the 1984 Video Recordings Act. A time when Britain plunged into a new Dark Age of the most restrictive censorship, where the horror movie became the bloody eviscerated victim of continuing dread created by self-aggrandizing moral guardians. With passionate and entertaining interviews from the people who lived through it and more jaw dropping archive footage, get ready to reflect and rejoice the passing of a landmark era.
In this feature-length documentary, three generations of the Caribou Inuit family come together to tell the story of their journey as Canada's last nomads. From the independent life of hunting on the Keewatin tundra to taking the reins of the new territory of Nunavut on April 1, 1999, we see it all. The film is the result of a close collaboration between Ole Gjerstad, a southern Canadian, and Martin Kreelak, an Inuk. It's Martin's family that we follow, as the story is told through his own voice, through those of the Elders, and through those of the teens and young adults who were born in the settlements and form the first generation of those growing up with satellite TV and a permanent home.
This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.
In this feature-length documentary, 8 Inuit teens with cameras offer a vibrant and contemporary view of life in Canada's North. They also use their newly acquired film skills to confront a broad range of issues, from the widening communication gap between youth and their elders to the loss of their peers to suicide. In Inuktitut with English subtitles.