In September of 1938, a great storm rose up on the coast of West Africa and began making its way across the Atlantic Ocean. The National Weather Bureau learned about it from merchant ships at sea and predicted it would blow itself out at Cape Hatteras, North Carolina, as such storms usually did. Within 24 hours, the storm ripped into the New England shore with enough fury to set off seismographs in Sitka, Alaska. Traveling at a shocking 60 miles per hour -- three times faster than most tropical storms -- it was astonishingly swift and powerful, with peak wind gusts up to 186 mph. Over 600 people were killed, most by drowning. Another hundred were never found. Property damage was estimated at $400 million -- over 8,000 homes were destroyed, 6,000 boats wrecked or damaged.
Actress-director Zabou Breitman embarks on an unusual adventure: imagining the life of a boy discovered in an old photo from an album bought at a flea market. These are the images and memories of an unknown family, which somehow feel familiar. At the center is the boy, with his gaze that is both gentle and melancholic yet joyful. Who is he? What is his true story, the one that unfolds between the lines? What if every individual were also the unwitting hero of a tale? This dizzying family investigation blurs the lines between reality and fiction, sometimes merging them completely.
In lots of myth, a hero must undergo a "Nachtmeerfahrt" in which he encounter mysterious creatures and dangerous events. The psychologist, Carl Gustav Jung (1875-1961), himself made such an expedition to survey the world of symbols and archetypes, asking about their relevance for our lives. How do "Nachtmeerfahrten" appear today? Are they dangerous in some ways and which potential do they have? What are our spirits ("anima") and shadows telling us thereby? Does the imagines of our subconsciousness contain spiritual messages? This is a filmic journey to the biography of C. G. Jung and to the mighty world of myths, dreams and symbols.
On February 12, 2008, in Oxnard, California, eighth-grade student Brandon McInerney shot his classmate Larry King twice in the back of the head during first period. When Larry died two days later, his murder shocked the nation. Was this a hate crime, one perpetrated by a budding neo-Nazi whose masculinity was threatened by an effeminate gay kid who may have had a crush on him? Or was there even more to it?
The documentary depicts the everyday of illiterate rural workers in Northeast Brazil, living under extreme misery. Although incapable of writing, they are aware of their condition and qualified to proposing solutions they hope for to their problems.
In 1988, after two terms in office, Ronald Reagan left the White House one of the most popular presidents of the twentieth century -- and one of the most controversial. A failed actor, Reagan became a passionate ideologue who preached a simple gospel of lower taxes, less government, and anti-communism.
First part of a three-part documentary series on the making of Once Upon a Time in the West, Italian filmmaker Sergio Leone's masterpiece, released in 1968. (Followed by The Wages of Sin.)
The documentary recounts the world's first nuclear attack and examines the alarming repercussions. Covering a three-week period from the Trinity test to the atomic bombing of Hiroshima, the program chronicles America's political gamble and the planning for the momentous event. Archival film, dramatizations, and special effects feature what occurred aboard the Enola Gay (the aircraft that dropped the bomb) and inside the exploding bomb.
[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual. – Chris Darke, FILM COMMENT
In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).
Black Friday, the day after Thanksgiving November 2012, four boys in a red SUV pull into a gas station after spending time at the mall buying sneakers and talking to girls. With music blaring, one boy exits the car and enters the store, a quick stop for a soda and a pack of gum. A man and a woman pull up next to the boys in the station, making a stop for a bottle of wine. The woman enters the store and an argument breaks out when the driver of the second car asks the boys to turn the music down. 3½ minutes and ten bullets later, one of the boys is dead. 3½ MINUTES dissects the aftermath of this fatal encounter.
Since 1964, Tjorven, Båtsman, Uncle Melker, and Malin have lived in the hearts of generation after generation. In this short look back, we follow the journey from the children’s nervous screen tests to life behind the camera on the archipelago island where a TV classic took shape.
Follow Aisholpan, a 13-year-old girl, as she trains to become the first female in twelve generations of her Kazakh family to become an eagle hunter, and rise to the pinnacle of a tradition that has been typically been handed down from father to son for centuries.
This feature-length documentary follows actor Jean-Louis Millette as he travels to Italy to present the play The Dragonfly of Chicoutimi, in which he plays the lead role. Director Jean-Claude Coulbois attempts to unravel the mystery of this protected, hard-to-reach area, which he calls the "actor's territory," where life and theater intertwine and interact.
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