Short Belgian documentary on volcanos.
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You've never heard of Jonathan Hoefler or Tobias Frere-Jones but you've seen their work. They run the most successful and respected type design studio in the world, making fonts used by the Wall Street Journal to the President of the United States.
Burn victims get to enjoy a family day at the beach thanks to an outing organized by the Association des grands brûlés.
Experimental movie dedicated to the work of Ljubomir Šimunić, author of avant-garde seventies and eighties movies, and photographer. The Loop is about exploration of the eroticism phenomenon in the movie. This crossroad of Hollywood and European underground approach is shown trough the work of Belgrade garage movie author. Using the language of moving pictures author is searching for the missing shaman, a great master of magic - Šime.
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
Advertising short for Chevrolet combining live action and animation. The film relates the story of Gilbert Willoughby, who, exasperated by his stubborn boxspring mattress, imprudently wishes for the disappearance of springs. Coily, the animated spring sprite, grants his wish, and Gilbert is bedeviled by once-familar appliances that no longer function. Apologizing to Coily, Gilbert acknowledges the contribution of springs to daily life, especially in the Chevrolet.
A German Film Award winning short documentary.
No overview available.
This film describes the building of the drilling platform ADMA Enterprise in a shipyard on the Kiel Canal, from where it was rowed to the Arabian Gulf.
Nearly 20 years since the end of the 1992-95 Bosnian war, there are people who still live in refugee Centers, usually located on the outskirts of cities and villages. In such centers what should have been temporary has become indefinite. Collecting medicinal herbs or scraps from nearby coal mines and raising children who were born as refugees in their own country are just some aspects of the monotonous daily life of the people in Ježevci.
A bike messenger, an electrician, a postal worker, a business man and an office worker make their way through an evening in New York City. A collection of eight large-scale moving images projected on the walls of New York's Museum of Modern Art.
Made for the NSPCC by the noted film director John Krish, They Took Us To The Sea follows a group of children taken by Inspectors of the NSPCC on an outing from Birmingham to Weston-Super Mare.
A documentary about the oil pipe installation in Khark, Iran in 1962.
A show booth owner presents "Udine" the mermaid and animals of the sea.
Millennials are set to inherit the Earth, but can they even? Join David Suzuki as he takes a deep dive on the lives of Millennials.
The main committee is of the opinion that the rating "especially valuable" can be retained. The style of the film is appropriate to the subject of "Visiting Busch" in its concentrated limitation to the authentic living environment. The individual visual motifs are composed with great care. On the one hand, the small world appears endearingly portrayed, on the other hand, the film's allusions to the background of the Wilhelm Busch phenomenon are convincing. Above all, the Committee would like to uphold the rating because the film, made in 1961, sought out the people who still knew Busch and bear witness to them in the film in an impressively simple and not exaggerated manner.
Hustle, hustle, hustle... hard. These two got a cold hustle going on in downtown Seattle. Commissioned and produced by the Northwest Film Forum for their One-Shot program.
This film is a playful depiction of the festivities around the performance If All Trains of the World by Alex Mlynárčik on June 12, 1971. Deň radosti shows Hanák using the 'inter-genre' style of documentary which made his feature film Obrazy stareho sveta (1971) a masterpiece. Still photography, live action, interviews, old etchings and archive footage of old train journeys are skilfully blended to create a sympathetic and humorous portrait of the romance of an old steam train and the joy of artists and the general public in participating in this children's game for adults. Once again, the avant-garde is imaginatively used to eulogise over traditional values and the past. Deň radosti is important not just for the considerable pleasure it brings; it is the first of a series of films in which artists use film to document happenings. (http://www.ce-review.org/kinoeye/kinoeye3old.html)
On a summer day, from his balcony, the filmmaker observes two women diligently cutting grass for their cows on one of the last remaining vacant plots of Kathmandu.
