We all know our lives will end and yet act as if death is a mirage. A pair of palliative care specialists allow renowned Emmy Award-winning artist Lynette Wallworth an opportunity to explore death with calmness, and even joy, through their use of psychedelics in a world-first trial for palliative care patients.
A rich and challenging account of the experiences of a German Jewish musician who settled in Britain to escape Nazi persecution. Two of his friends are being sued by a former SS Kommandant, who denies their accusation that he was responsible for the genocide of 300 Belgians. Documentary interviews and archive footage merge with dramatised scenes to create a new way of representing history and memory.
Col. Phillip J. Corso, a member of President Eisenhower's National Security Council and Head of the U.S. Army's Foreign Technology Division at the Pentagon speaks candidly of overseeing the recovery of alien spacecraft and the harvesting of technology from recovered crash debris of extraterrestrial origin.
Apollo 14 Astronaut Dr. Edgar Mitchell reveals that the Roswell UFO crash of 1947 was a real event and discusses the 50 years of cover-up that followed. Command Sgt. Major (ret.) Robert O. Dean, former intelligence analyst, discusses a top secret study conducted by NATO in the 1960s entitled 'An Assessment', classified as 'Cosmic Top Secret'. William Perry, former Secretary of Defense under Presidents Reagan and Bush confirms the existence of Area 51.
In 2007, the Berliner Philharmoniker celebrated their 125th anniversary. Film director Enrique Sánchez Lansch took this occasion to tell a hitherto unknown chapter in the history of the Berliner Philharmoniker: the years of National Socialism from 1933 to 1945. The film, “The Reichsorchester”, made in collaboration with musicians of the orchestra and its archive.
15 years after "Lost in la Mancha", Keith Fulton and Louis Pepe come back to follow Terry Gilliam's new (successful) attempt at filming "The Man Who Killed Don Quixote".
In 1908, amateur naturalist and pioneering filmmaker Percy Smith stunned early cinema goers with his footage of the juggling fly. Hailed as the father of Natural History film, Smith was a hugely influential visual pioneer, inventing many techniques that are still used today. Being both a genius and an eccentric, we follow his life from his earliest films, to the collapse of his house from his mould experiment to his ultimate suicide. We also meet Natural History icon Sir David Attenborough, who was so amazed by Smith’s films in the 1930s that they inspired him to get into natural history.
In his film "Women Are Heroes", photographer JR takes his audience into some exceptional women’s lives. Because there are, most of the time, the first victims in war-time and left to their own during peace-time, JR pays tribute to those women who, in spite of the hurdles, keep smiling, keep fighting and keep hoping a better life. From Rio’s shantytowns to Kenyan slums, passing by Indian and Cambodian streets, he offers a fresh look at their struggles and expectations. Displaying their portraits via huge montages on their neighborhood’s walls, JR sublimates those extraordinary destinies and sheds the lights on those strong and moving personalities, too rarely recognized enough.
The incredible conservation story of a magnificent species that produces the finest, most expensive fiber in the world and the empowerment of an indigenous community that lives 15,000 feet above sea level in the Peruvian mountains.
Barbara Hammer’s Audience is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking. Today, Audience serves as an invaluable historical archive, providing quick but complex portraits of lesbian scenes in different cities and countries: the San Francisco women are bold and raucous, treating Hammer like a celebrity; the London crowd more reserved and tentative; the Canadians politely critical after initial hesitation. It also functions as a testament to the power of Hammer herself as a figure of lesbian culture, showing how fully she engages audiences to incite new forms of discourse about representation.
A snapshot of the porn industry in the San Fernando Valley focusing on a handful of people: Luke Ford, a reporter who breaks the industry's gentlemen's agreement and writes about actors who have HIV/AIDS; Kimberley Jade, a veteran actress who contracts AIDS; Katie June, who arrives in Los Angeles from the South, going on 20, with dreams of becoming a porn star and with her mother's approval; Jim South, who runs a talent agency; and, William Margold, an aging factotum. Others appear on camera to round out a portrait of a busy industry that's lucrative for some and dangerous for others.
Hull, England, 1970. In a run-down commune in a tough port city, a group of social misfits - mostly working class, mostly self-educated - adopted new identities and began making simple street theater under the name COUM Transmissions. Their playful performances gradually gave way to work that dealt openly with sex, pornography, and violence. COUM lived on the edges of society, surviving on meager resources, finding fellowship with others marginalized by the mainstream. At the core of the group were two artists, Genesis P-Orridge and Cosey Fanni Tutti. As their work evolved, Cosey embarked on a career modeling for pornographic magazines, which she claimed for herself as a conceptual artwork, using it to forge a specific position in relationship to 1970s feminism. In performances, Genesis pushed himself to extremes, testing the limits of the human body.
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