After the capture of Shanghai, Japanese soldiers make a trip to Suzhou.
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In November 1936, a few months since the beginning of the Spanish Civil War, the government of the Second Republic moves to Valencia. In this situation, several Valencian artists and intellectuals decide to build four fallas — satirical plasterboard sculptures created to be burnt — to mock fascism.
This video invites you inside the U-505 submarine, the actual craft that stalked the waters of the Atlantic before it was blown to the surface and captured on June 4, 1944. This immersive video reveals the technology and life aboard this sub in the days leading up to her capture. Among the many highlights, you’ll see crewmen bunks and the galley, wedged in among the mechanical workings of the sub.
Documentary about Giger's work for the movie Alien (1979).
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
It was one of the great crimes of the Second World War: from 1941 to 1944, a total of 872 days, the siege and starvation of Leningrad by the German Wehrmacht on Hitler's orders lasted. Over a million people fell victim to the blockade, most of them dying of hunger. Countless of these starving people wrote diaries with the last of their strength, and cameramen filmed in the paralyzed city. Evidence from the hell of the siege, many of the film recordings, but above all the written memories on which this documentary on the occasion of the 80th anniversary of the liberation is based, remained under lock and key after the war. The voices of those who had suffered through this terrible time should not be heard by anyone, because they did not fit the pathos of the Leningrad heroic song that was officially sung. Most of the recordings come from women. The writers feared neither the enemy nor the Communist Party or Stalin, who often proved incompetent in providing for the population.
During the Second World War, women were for the first time allowed to work as war correspondents. Based on reports, letters and diary excerpts, filmmaker Luzia Schmid sketches a personal portrait of three fearless women and their unique attempts to report on the war.
Pinky Thompson grew up in Hawaii during a time when one was punished for being Native Hawaiian. After almost losing his life in the battlefields of Normandy in World War II, Pinky brought his fierce energy to the arena of social service whre he championed a health care system, created invaluable educational programs and strengthened the pride of Native Hawaiians. Pinky fostered new methods of policy collaboration and community testimony. He elevated a new generation of Hawaiian leaders to represent the vibrant cultural identity and value system of the Hawaiian people.
This documentary explores the creation of the Holocaust Memorial in Berlin as designed by architect Peter Eisenman. Reaction of the German public to the completed memorial is also shown.
"The Role of Chance" ("La part du hasard") focuses exclusively on drawing and painting techniques used by the painter Henri Dimier. Shot over several weeks in the same artist's studio, the film shows works in their different phases, processes rarely explained or little known. It also addresses many practical issues (choice of paper, pigment grinding, reports drawings, put the tiles, cliches, etc) as well as broader questions of method and inspiration (use of space, the role of contours, power of suggestion perspectives, use of random processes). Patrick Bokanowski sought with this film to restore the spirit of this teaching, showing how to bend a note or sometimes revealing an essential mystery of creation.
Rare 1977 documentary short hosted by Christopher Lee on the occult. Topics range from witch covens, Astrology, psychic powers, seances and astral projection, amongst others.
Tian Soepangat joins the U.S. Navy out of a commitment to helping others. As a Muslim, Tian is uncertain of his shipmates' attitudes toward his religion, and so he hides it. Eventually discovering he doesn't have to hide his faith, he is free to express pride in his heritage.
A lyrical recreation of Lightnin’ Hopkins’ decision at age eight to stop chopping cotton and start singing for a living. Preserved by the Academy Film Archive in 2013.
This last testimony of Robert Kramer (1939-1999) is a moving documentary with the independent American film director, in which he speaks of his political activism, his way of filmmaking, his relationship with Portugal and the revolutionary movements.
To help visualize the dramatic final chapter in Cassini's remarkable story, NASA's Jet Propulsion Laboratory produced this short film that features beautiful computer-generated animation, thoughtful narration and a rousing score. Producers at JPL worked with filmmaker Erik Wernquist, known for his 2014 short film "Wanderers," to create a stirring finale video befitting one of NASA's most successful missions of exploration.
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Tehran Is the Capital of Iran (1966-79) documents life in a deprived district in the south of Tehran. The images of destitution in Tehran's poor areas is accompanied by a variety of spoken accounts: the official viewpoint on the district's living conditions, what the inhabitants have to say, and occasional extracts read out of school manuals. The key element in Shirdel's film is the counterpoint effect he creates with image and sound. His impressively powerful portrayal of social unease helps reinforce the impact of his astonishing documentary images and social themes.
A two parts making of documentary, following José Augusto Silva and his film crew during the shooting of a university short film called Castelo.
An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
A tribute to the cameramen of the newsreel companies and the service film units, in the form of a compilation of film of the cameramen themselves, their training and some of their most dramatic film.
