In this deeply personal film, director Roger Ross Williams sets out on a journey to understand the complex forces of racism and greed currently at work in America's prison system.
Elie Wiesel, a survivor from Sighet, a town from which a thousand Jews were deported to the ovens of Auschwitz, returns, unknown and unseen, a silent witness to the town where he was born and grew up.
A documentary covering pre-production topics like suit design and construction, storyboards, animatics, and pre-viz, sets, working in the suit, casting, rehearsals, and preparation, and the start of the shoot. From there we look at performances, locations and production design, stunts, hardware and practical effects, and various sequence specifics. Finally, the program goes through post-production at Skywalker Ranch, the titles and a few visual elements, and wrapping up the flick.
Don't miss the biggest names in sport climbing, traditional climbin and bouldering in the "Dosage Volume 4" DVD. Watch as Lisa Rands completes the first female ascent of England's Peak District, Chris Sharma's first accent of Dreamcatcher and more in this action-packed DVD.
The mountain spirit is always present in the art of living. This documentary sets out to meet people who are active in living well in the mountains. They all have one thing in common, the mountain is at the same time their place of life, their inspiration and their support. They will guide you in the Alps in order to know the secrets of mythical hotels, stonemasons, crystal makers or even chalet designers.
The rare short film presents a curious dialogue between filmmaker Julio Bressane and actor Grande Otelo, where, in a mixture of decorated and improvised text, we discover a little manifesto to the Brazilian experimental cinema. Also called "Belair's last film," Chinese Viola reveals the first partnership between photographer Walter Carvalho and Bressane.
A small child in the surf at the seashore. The child is evidently frightened at the rushing waves and stands terrified until a larger wave than usual comes along, whereupon the child turns and runs toward the shore.
In Sydney, Australia, Jason King, a security guard and a part-time ghost hunter, has spent decades searching for his absent father. When this personal endeavor crosses paths with a police investigation, an unspeakable family secret comes to light.
A documentary examining possible historical and modern conspiracies surrounding Christianity, the 9/11 terrorist attacks, and the Federal Reserve bank.
Up the hills between Liguria and France, a car goes up towards the Pre-Alps. Paolo Masieri, one of the most innovative of the great Italian chefs, has his vegetable garden, his country house, his herbs. Luca Guadagnino's camera follows him, moving among the fronds with the step of a weasel, sniffing the moss and the dried leaves of the chestnut trees, becoming nature among nature.
The Rosenwald Schools by Aviva Kempner is a documentary about how Chicago philanthropist Julius Rosenwald, the son of an immigrant peddler who rose to head Sears, partnered with Booker T. Washington to build 5,400 Southern schools in African American communities in the early 1900s during the Jim Crow era.
Twenty years after China’s scandalous “Black Blood Economy,” when a million Chinese citizens were infected with HIV and countless died from AIDS, thousands of rural peasants still suffer the consequences, their plight hidden from the eyes of the world and strongly censored by Chinese authorities.
Profiling Notre Dame kicker Reggie Ho, who played for one season and helped the team go undefeated in 1988. As a walk-on, Ho received no financial support from the school. He was a pure student-athlete who played for the love of the game and for the love of Notre Dame.
In conversation, in her Paris apartment, Sidonie-Gabrielle Colette, mime, dancer, novelist, wonders whether she should give the green light to a proposed film about the houses in which she lived. “I’m no longer photogenic,” she insists; nearly 80, marriages, affair with a stepson and intermittent lesbianism behind her, refusing now even to mention the arthritis that confines and assaults her, Colette is vivacious. Yannick Bellon’s captivating postmodernist film, as much a study of evanescence as any poem by Dickinson, segues into the film that Colette, a few years before her end, has just said she doesn’t want to do. Giving voice(over) to her own commentary, she goes back, first, to the home in Saint-Sauveur-en-Puisaye, Yonne, where she was born.
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