In Frame (1969), Richard Serra emphasizes the disconnect bewteen the real space of the cinema and the illusory space of the screen. We first see Serra's hands methodically measuring and marking the boundaries of the film frame, followed by the projected image of a blank surface whose perimeter is similarly marked. The surface is then moved aside to reveal a window which looks out upon a bustling city street. The In the final stage, Serra interacts with the projected image of the window, remeasuring and remarking its borders.
In Frame (1969), Richard Serra emphasizes the disconnect bewteen the real space of the cinema and the illusory space of the screen. We first see Serra's hands methodically measuring and marking the boundaries of the film frame, followed by the projected image of a blank surface whose perimeter is similarly marked. The surface is then moved aside to reveal a window which looks out upon a bustling city street. The In the final stage, Serra interacts with the projected image of the window, remeasuring and remarking its borders.
1969-01-01
10
Like the three "Hands" films by Richard Serra (1968), the subject of "Color Aid" are fingers as actors of real time activity. Monochrome colour cards lying on top of each other and filling the whole screen are being pulled away individually with a swishing sound by a single finger, each time bringing a new colour into view.
A place-specific film-excavation of Bixiga neiborhood – São Paulo. Choreography of forces that cross present time. Filmancy, clairvoyance is the vision of what is taking shape.
Barry and Susan O'Brien are a young married couple who have just inherited a house. They love their beautiful new home, and decide to throw a party. The party is partly to show off their new digs and partly because Barry, an actor, wants to butter up the producer of a soap opera in hopes that his character won't be killed off. But the O'Briens soon discover that they have to worry about death in the real world too, because a flock of demons is hiding out in one of the closets, waiting to be released.
A singer falls in love with a woman. He must disguise himself to win her heart.
Two brothers, trying to make sense of a world gripped by a pandemic, grasp at anything to increase their chances of survival.
Recorded live at the London Astoria 2 on 14 January 1994. For some unknown reason, the performance of "Sunday" was edited out of this video (and all the other "Live" videos). Also, on the opening screen in the video, there is a mistake: The date is listed as 14 February 1994 (it is actually 14 January)
A fight breaks out over a poster.
"Religious Fighter" - In Romania, the idealistic Istanbul teacher, Aliye, communicate activities to a town in Anatolia supporting the idea of National Struggle in the region.
A woman hires soldier-of-fortune Carson to smuggle her into Albania by way of Greece. Their trouble is just beginning when they get there.
Presumably inspired by Pete Walker's 4 Dimensions of Greta this is another 1970s sex comedy filmed in 3D. Walter Boos however went all the way - we do not have just the odd 3D boob scene, the whole film is made in 3D. The viewer is constantly reminded of that, because the cinematography is truly bizarre with plenty of scenes of rather peculiar camera angles that strongly emphasize the 3D effects, e.g. a girl on a swing moving towards (and above) the camera, twigs hitting a car window, and many many more. The exaggeration of 3D makes these scenes quite funny, as the effects are completely over the top.
After years of killing for a man only known as "The Boss", Serena is burnt out. When she is hired for one final job, she teams up with an underground renegade group to stop her replacement from executing the assassination.
Hurmuz is a beautiful woman, her husband Ömer is in prison and she's in love with him. She thinks that her husband is very loyal to her, but one day, when she goes to visit him, she learns that she has six other wives besides herself, and she can't get over this and wants to take revenge. Hızır Reis, Guard Hasan, Tulumbacı Hayri, Hallaç Rüstem and Berber Hasan. Hurmuz marries all of them in turn and kidnaps them all on their wedding night. But still, Hurmuz's heart is with the doctor.
Intersection is a philosophical journey detailing the extreme highs and the extreme lows of such a mentally driven sport; we explore professional Supercross and motocross racer, Josh Grant's, humble beginnings and introduction to motocross, all the way to his professional career and personal battles on and off the track in detail not yet known to the public. From dropping out of school at only 14-years-old, to being blind-sided with financial ruin shortly after the birth of his son, Wyatt... Intersection focuses on struggles of searching for the right path along his journey to not only find self-preservation but also to find the path back to his winning ways.
Western saga based on the legend of frontier folk hero Tom Horn, including his role in the trackdown of Geronimo in the 1880s with his mentor and pal, Al Sieber, the fabled Indian scout, his later days as a Pinkerton detective, and the way he was used by both sides in turn-of-the-century cattle wars, leading to his tragic death.
When a mysterious terrorist declares war on white nationalist cops, he starts a war that will tear the country apart.
Carriage Trade was an evolving work-in-progress, and this 61-minute version is the definitive form in which Sonbert realized it, preserved intact from the camera original. With Carriage Trade, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920’s; he particularly disliked the “knee-jerk’ reaction produced by Eisenstein’s montage. In both lectures and writings about his own style of editing, Sonbert described Carriage Trade as “a jig-saw puzzle of postcards to produce varied displaced effects.” This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between individual shots. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
Life is good for Nino van Doorn (8). He has a terrific brother Lucas (14), wise father Bruno and an angel of a mother, Marla. When Marla dies, Bruno can't cope with her death. Also the values like order, responsibility, love and care they represented. The two brothers create their own world. But soon the anarchistic world is threatened by the outside world. The two brothers are prepared to fool the system but what happens is that they really become a family again.