Deserted Streets of Amsterdam
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
At the beginning of the year 2020, a relentless plague sweeps the planet and, as a consequence, a global lockdown is gradually decreed: how did people from very different latitudes, living necessarily very different situations, experience this shared solitude? How did people adapt to the restriction by decree of their personal freedoms and the transformation of many bustling metropolises into ghost cities?
Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.
About Stefan Stricker, who calls himself Juwelia and has been running a gallery on Sanderstraße in Berlin Neukölln for many years. Every weekend he invites guests to shamelessly recount from his life and to sing poetic songs written with his friend from Hollywood Jose Promis. Juwelia has been poor and sexy all her life, has always struggled for recognition, but only partially.
2021 was a turning point for Belarus and 6 Belarusian students - as well as for the city of Łódź, Poland, in which they found themselves. Across the rails of change and transformation, documenting a time that has not been before and will not repeat again. Heroes of the film have very different fates and experiences, but they are all connected by the place they found themselves in - the post-industrial and post-apocalyptic city, which becomes a part of their story and a hero of its own. Students, transport, quaters, youth, revolution, local apocalypse, changes and turns - they all mix in a documentary kaleidoscope 'Across the Rails'.
It places a human face on the hidden epidemic of chronic loneliness and social isolation. Built on hope, it shares the latest research and interventions for individuals and communities and leaves audiences feeling empowered and reconnected.
Summer 2021, in Damascus city, some young emerging directors roamed the city's streets to follow their dreams and shoot their first movies with the simplest available tools. so, the city would open her arms and hug them day and night with her streets and neighborhoods.
A boy from Vila do Conde records a love letter on a cassette. His voice blends with music, archive images and stories from the past, some lived and others heard.
Documentary film that takes a visual and anthropological journey through man's spirit across the thin line dividing excessive faith in religious believes and the passion with which he devotes himself to worldly pleasures in a city that coexists in harmony with its double standards. Religion, faith, politics, violence and death are intimately bound in this social portrait.
A documentary in which Marcel Hanoun examines, delimits, paces up and down and criss-crosses the town of Langres, offering the houses, walls and everything which makes up the identity of a place, an opportunity to express themselves through the time of seasons but through that of History.
Stuttgart in the mid-1930s: What did it look like in the past, what does it look like now and what will await the city in the future?
Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. or stroll more languorously through a cemetery. Ranks of skyscrapers extrude columns of smoke and steam. In plain view. Or framed, as through a balustrade. A crane promotes the city's upward progress, as an ironworker balances on a high beam. A locomotive in a railway yard prepares to depart, while an arriving ocean liner jostles with attentive tugboats. Fading sunlight is reflected in the waters of the harbor. The imagery is interspersed with quotations from Walt Whitman, who is left unnamed.
A collaboration between Jem Cohen with writer Luc Sante made in Tangier, Morocco, a city where neither of us had ever been. En route from the airport to the city center, we found ourselves amazed by the landscape outside of the car windows; a massive construction project under way in all directions. While not in itself unusual, we were by struck dumb by the epic scale and seemingly incomprehensible plan of the development and were drawn to return together to this puzzling zone. This project was commissioned by TAMAAS, a small foundation based in Paris, as part of their Tangier project, The 8.
The Californian sun, which lights up the city, lights up again every evening in cinemas all over the world". Guided by these words from Blaise Cendrars, L.A. L.A. END is a stroll through Los Angeles, among the remnants of Hollywood's Golden Age. Following in the footsteps of a Marilyn Monroe lookalike, we meet a gallery of characters who paint a sensitive portrait of a bygone era that gradually becomes a portrait of a woman.
Vilnius is a city of notable historical heritage and unique character currently undergoing considerable changes. Some of the life fragments our camera has recorded are no more. The film, therefore, is a testimony to that which has faded into oblivion, and a glimpse into what is to come.