La Santa Cecilia: Alma Bohemia
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For more than 40 years Kathryn Bigelow has been making films that explore male violence. With movies like Blue Steel, Point Break, The Hurt Locker and Zero Dark Thirty, the Oscar winning American filmmaker has impressed with hard-hitting moviemaking that holds a mirror up to contemporary America and the world.
Samuel Fuller discusses his career as a filmmaker, illustrated by plenty of clips.
Alternating Philippines and Saudi Arabia as her home, the filmmaker uses personal home videos and present footage to tell the story of her family.
This film takes us on an emotional journey from sacred ground above Byron Bay to Antarctica, Indonesia to Pakistan, and is sure to light a fire under the strongest climate change denier. THE POWER OF ACTIVISM focuses on six highly spirited female activists as they are put under the microscope to ascertain the financial impact of their environmental solutions… and the results are astonishing. From shark conservation to indigenous practices, intensive farming to plastic pollution; all their ‘causes' fall under the umbrella of "climate change", but they should also fall under the umbrella of "saving tax payers hundreds of millions of dollars!”
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Hollywood is perhaps the most elusive animal. "We Want the Airwaves" follows three first time TV makers who set out on the ultimate adventure: to change television as we know it. The trio creates, films and pitches their advocacy docuseries masterpiece, "Manifesto!" all over the world, with the goal of giving a broadcast voice to a generation.
Investigates the politics of cinematic shot design, and how this meta-level of filmmaking intersects with the twin epidemics of sexual abuse/assault and employment discrimination against women, with over 80 movie clips from 1896 - 2020.
Monte Hellman was born in 1932. By 1986 he made eight features, but had not directed for six years. I had made as many documentaries, but had not turned a foot of film through a camera for two years. I decided to break the silence by spending a day with him. Nine rolls were loaded into the camera. We talked until either we or the camera ran out.
A two parts making of documentary, following José Augusto Silva and his film crew during the shooting of a university short film called Castelo.
The raft man Manuel Jacaré was swallowed by the sea when Orson Welles was filming It's All True in 1942. The fact evokes memories of the dictatorship of the Estado Novo, of World War II, of Ceará fishermen's struggle for labor rights and housing in their traditional space - target of real estate speculation.
A short film by Peter Greenaway. It depicts the painting The Wedding Feast at Cana by Paolo Veronese, through mixed media and shows different perspectives.
A thrilling comedic documentary attempting to uncover the mystery of who is responsible for one of the most infamous bloopers in cinematic history.
A group of elders spends their weekdays in a retirement home in Sandim, in the north of Portugal, where they talk, do arts and crafts, practice yoga and pray. We follow them between October 2012 and March 2013, when an economic crisis overshadowed Portuguese society and unemployment rates reached record levels. Meanwhile, arrangements are made for the Carnival ball. Will they bring the first place home this time?
In the aftermath of war, an extraordinary professor brings hope to children haunted by trauma-induced nightmares.
Essie Coffey gives the children lessons on Aboriginal culture. She speaks of the importance of teaching these kids about their traditions. Aboriginal kids are forgetting about their Aboriginal heritage because they are being taught white culture instead.
Reflects a depressing and hopeless reality by following some of the members of "la dieciocho", the so-called 18th Street gang in a poor San Salvador neighborhood.
In the summer of 1975, the young director Steven Spielberg set new standards for cinema worldwide with an oversized shark bite, a plastic shark fin and an unmistakable two-note main theme composed by John Williams. With the horror from the deep, a man-eating, gigantic great white shark, the film of the same name became a similarly traumatic reference as Alfred Hitchcock's "Psycho": it triggered lasting primal fears across generations. On the beaches of the world, there was clearly a "before" and an "after". Steven Spielberg, who was only 28 at the time, not only set new standards for the thriller genre, but also hid his biting criticism of US capitalism in the 1970s behind it.
