A film about "the father" of Malmö Eric Svenning and how the city has developed during his time.
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Himself
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.
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In Humberstone (Chile), little was left of the saltpeter's prosperity. Near the old Fordlandia (PA), squatter houses are the last signs of the city built by Henry Ford. Armero (Colombia), had its population wiped out by the eruption of the Nevado del Ruiz volcano in 1985. Twenty-five years after a flood, ruins of Villa Epecuén (Argentina) expose the remains of the old water station.
This documentary film follows farmers and activists fighting together to stop the Indiana Enterprise Center, a mega-sized industrial park planned west of South Bend, Indiana
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.
Since the end of World War II, one of kind of urban residential development has dominate how cities in North America have grown, the suburbs. In these artificial neighborhoods, there is a sense of careless sprawl in an car dominated culture that ineffectually tries to create the more organically grown older communities. Interspersed with the comments of various experts about the nature of suburbia
Founded in 1919 by Walter Gropius, Bauhaus was supposed to unite sculpture, painting, design and architecture into a single combined constructive discipline. It is a synthesis of liberated imagination and stringent structure; cross-medial concepts that embellish and enrich our existence, illumination and clarity, order and playfulness. But Bauhaus was never just an artistic experiment. Confronted with the social conditions of that particular time, as well as the experience of WWI, the movement concerned itself with the political and social connotations of design from the very outset. Hence, Bauhaus history is not just the history of art, but also the history of an era that stretches from the early 20th century to the modern day.
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 City Runs Through the Festival is an anatomy of the Festival through the eyes of its own audience.
Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust; she also likes to stroll about Paris.
A prescient documentary about city planning, which presents idyllic suburbs and nuclear families as a solution to the chaos, poverty and social decay of industrialized inner cities.
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.
Five floors. Forty apartments. Rats, leaks and debts. In Pantin, I live in a building with a danger order. Under court order, we have to renovate it. Between Dantesque arguments, missing money and humor as a fire extinguisher, I film our collective rescue.
A decade has gone by and the spirit of the preceding film, Dom kallar oss mods, has disappeared. Kenta is an alcoholic and lives with his girlfriend Eva. Together they have a son, Patric. Kenta's mom is in jail for manslaughter and Kenta goes to Kronoberg to greet her. Heroin also comes to play and Stoffe is one of those who falls victim to it. He lives with his girlfriend Lena and their young son, Janne. Lena later throws Stoffe out their home when she gets enough of his abuse, and he is forced to live with his mother. Kenta calls Stoffe and decides to meet him, and he tries to persuade him to give up heroin, but the two have a falling out and they separate. This film features other users from the previous film, such as Jajje and Kenta Bergkvist. The film ends with the death of a prominent person in the trilogy.
Targeted for several failed redevelopment plans dating back to the days of Robert Moses, Willets Point, a gritty area in New York City known as the “Iron Triangle,” is the home of hundreds of immigrant-run, auto repair shops that thrive despite a lack of municipal infrastructure support. During the last year of the Bloomberg Administration, NYC’s government advanced plans for a “dynamic” high-end entertainment district that would completely wipe out this historic industrial core. The year is 2013, and the workers of Willets Point are racing against the clock to forestall their impending eviction. Their story launches an investigation into New York City’s history as the front line of deindustrialization, urban renewal, and gentrification.
Urban architecture as seen through the eyes of four female veterans in the field.
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.
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.
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'.
Lebanon today. The traces of the civil war are all too tangible as government corruption becomes unbearable. In a country where conflict and peace are caught in an endless cycle, musicians from different backgrounds pool their talents to create an underground music scene. Each evokes his or her representation of Lebanon: its shifting geographical, political, historical and social borders, its painful passage through conflict and instability. A touching portrait of a young generation trying to build an oasis in a hostile environment where the forces of destruction continue to wreak havoc.
