On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.
Self
Self
Self
Self
Self
On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.
2001-04-29
5.5
Mixing narrative and documentary, the film retells a 16 year old girl's experience of a date rape.
When '80s B-movie icon Tim Thomerson wakes up one day to realize the acting roles are not coming his way any more, he sets out on a quest to find his former co-star Lance Henriksen to discover his secret of Hollywood longevity and gets more than he bargained for in the process.
Slip and the gang (Bowery Boys) foil foes of the exiled, incognito king of Truania (Sig Ruman).
A girl named Katya meets a boy Mitya on the street. He loves animals, but his mother won't let them at their house no more. He looks for another place for his pets and so he lets Katya to take the animals to her home for a day.
A 12-year-old genius, poor Max is a washout socially. To impress his girlfriend, he sells the design of his latest invention-a jumping bike-to a major toy company.
This short film follows a man lost in the woods driven by his fear of the unknown.
Captain Scarlett rescues Princess Maria from being abducted while travelling. She's not exactly grateful. He finds out that she is to be married to a man she doesn't like, so Captain Scarlet attempts to help her but winds up in prison for his efforts. He escapes and finally helps the reluctant bride who winds up joining Captain Scarlett and his sidekick and they become something along the lines of the three musketeers.
"Let's Get Loud" was Jennifer Lopez's NBC Special, which premiered on November 20, 2002 and was recorded over 2 nights in Puerto Rico in the fall of 2001. It was Jennifer's first-ever headlining concert appearance, showing off her talents as a vocalist and dancer. The performance features a variety of Spanish and English songs, including: "Love Don't Cost A Thing", "If You Had My Love", "I'm Real", "Plenarriqueña", and many more.
Let’s get SICK’NING for the Holidays! RuPaul’s Drag Race legend Laganja Estanja is here for Hey Qween’s Very Green Christmas Special!
Starflight One, a commercial aircraft that can whisk passengers around the globe in a matter of hours, embarks on its maiden voyage. The trip goes horribly awry, however, when the aircraft is forced out of the atmosphere and into outer space. As it is too dangerous to attempt reentry, Captain Cody Briggs, his passengers and his crew brave declining levels of oxygen while NASA scientists scramble to launch a rescue mission in a race against time.
Star is a young graffiti writer, the best in his city, Paris. His reputation attracts him as much into art galleries than in the police precincts. Accused of vandalism, he faces jail. Despite the threat, he decides to go to Rome with his crew in search of the meaning of his art.
The prequel set 15 years before the events of "Sixth Form or College...?: The Movie" that tells the story of how Jake Huby became The Writer. After crash landing on Earth, Jake must search for his brother, Dennis, to prevent him from enslaving mankind.
Alice is a doctor in a screening center for STDs. Every day, she asks the patients about their intimacy, before taking blood samples. When she returns to her apartment, she finds Bianca languidly waiting for her. When the time comes, Alice spills the patients' blood on her tongue, telling her their stories.
A lesbian couple calls upon a donor by internet to have a child. The relationship that develops between the future biological mother and the donor will not be without consequences for the couple.
The second feature length movie of Paulino Viota, this is a disillusioned and biting look at the years of Spanish democratic transition, narrated in a dry and scrawny style that shows the political intrigues, struggles and frustrated hopes of the first years of Spanish transition to democracy.
It's a peaceful day in a national forest...until hunting season begins at which point all the bears hide out in a cave but one bear, Humphrey, doesn't make it. He hides out in a cabin and, seeing hunter Donald Duck approaching, hides the bearskin rug in a trunk and takes its place. Masquerading as the rug tends to be an unpleasant experience for Humphrey as Donald opens nuts and bottles in his mouth and washes him in the washer/dryer among other things. Finally, when hunting season ends and Donald leaves, Humphrey is relieved but makes a startling discovery.
A young girl suffers a terrifying nightmare of a vampire with blazing golden eyes. Eighteen years later, it is revealed to be a hellish prophecy when a strange package containing an empty coffin mysteriously turns up at a nearby lake.
Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.
IN THE LAND OF GIANT PYGMIES, a diary of Aurelio Rossi's 1925 trek into the immense Belgian Congo, preserves a long-gone-Colonial-era wonder at natural resources, "primitive" tribes, customs and costumes in Europe's cast African possessions, and implies that the "dark continent" could benefit from the "civilizing" influences of home.
The director goes to the city of Cuenca in Spain, Castilla-La Mancha for Erasmus. In this process, he records his experiences, days, and trips with a digital handheld camera and Super 8mm. A visual diary of the director is documented by witnessing the 2022 spring period in Spain and Portugal with images.
An old man comes across a fascinating archive, then meets a woman who introduces him to the life of a banker, patron and philanthropist. A moving essay that is part documentary, part film diary.
An enigmatic glimpse of life through precarious vignettes, propelling a narrative through a nebulous and opaque structure that sutures the filmmaker's home movie footage to archival material—from Hollywood narrative films to political selfie videos. A handmade impression of a time suspended between past and present and the ghosts and places occupying it, contemplating the nature and meaning of vision, memory and image making.
Filmmaker Jonas Mekas films 160 underground film people over four decades.
The untold state of mind dealing with an incurable disease. One is wondering if there's still a dream to achieve in life. One is running as if this free spirit of mine has never been taken away.
Made over six years in the hotels of six different countries, Hotel Diaries charts the 'War on Terror' era of Bush and Blair through a seven-part series of video recordings that relate personal experiences to the ongoing conflicts in Afghanistan, Iraq and Israel/Palestine. In these works, which play upon chance and coincidence, hotel rooms are employed as 'found' film sets, where architecture, furnishing and decoration become the means by which the filmmaker’s small adventures are linked to major world events.
A short documentary by Jim McBride.
An epic portrait of the New York avant-garde art scene of the 60s.
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
Through phone call conversations, an aspiring Ilocano filmmaker relates to his mother working in Italy about his dreams and struggles while documenting the invisible betweenness of their language and distance.
I wasn’t told. I wasn’t told it would be so difficult to live together. To keep a family together. To maintain love and happiness. I wasn’t told, and if someone had told me I wouldn’t have listened. I chose to live with my camera in my hand, filming the trajectory of feelings, from the golden age to the lost paradise, from being born to being reborn.
Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.
A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.
Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.
One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club
For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.