01 Jan 1982
The Making of Agatha Christie's 'Evil Under the Sun'
Director Guy Hamilton and several of the stars of Agatha Christie's "Evil Under The Sun" walk you through the making of the film.
With the Ship 'Macedonia' from Rijeka to New York
A travel documentary about the ship "Macedonia" which sets sail from the port of Rijeka, travels along the Mediterranean Sea stopping at Alexandria, Genova, Marseilles, Algiers and arrives at the final destination in New York.
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This is a documentary film about the land and people which will never restore their power of the past. A story about negations and many historical moments are enveloped in the veil of secret. Through the modern personalities and archives "The Last Macedonian from Macedonia" approaches to the truth revealing the never spoken moments and linking the past, present, but also the future. The film was shot on locations in Bitola and its surroundings.
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MANUFACTURED LANDSCAPES is the striking new documentary on the world and work of renowned artist Edward Burtynsky. Internationally acclaimed for his large-scale photographs of “manufactured landscapes”—quarries, recycling yards, factories, mines and dams—Burtynsky creates stunningly beautiful art from civilization’s materials and debris.
Macedonia 
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A documentary about the Balkan country.
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The devil makes the biggest splash at Cookham's famed regatta.
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Sailing the Treasure Ship 
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Navigating the Indian Ocean in a reconstruction of a 1,200-year-old Arab ship, held together by 100km of rope and 127,000 hand-sewn stitches. The Jewel will sail more than five thousand kilometres across the Indian Ocean and do battle with the Monsoon – but for sailors it can spell danger and even death. It took a year to build: the Jewel of Muscat – a reconstruction of a 1200 year old Arab ship, based on an ancient shipwreck. Built from more than 18 tonnes of wood, the ship is held together entirely by 100 km of rope in over 127,000 hand-sewn stitches. Now the Jewel will sail more than five thousand kilometres across the Indian Ocean and do battle with the Monsoon – the mighty rain soaked wind that turns the arid land it touches green. But for sailors it can spell danger and even death.
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Stanley Kubrick’s first color film, commissioned by the Seafarers International Union to promote the benefits of union membership. Shot inside the union’s Atlantic and Gulf Coast District facilities, it features scenes of ships, machinery, cafeteria life, and meetings, highlighting the daily routines and camaraderie of seafarers. Thought lost for decades, the film was rediscovered in 1973 and preserved by the Library of Congress.
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Mediterranean Stories 
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Pictures of the Mediterranean made with bread, oil and wine. In one meal the history, geography, economy, climate, culture and people of the Mediterranean. Close up of threshing floors, threshing floors, mills. Dietary habits, production methods, daily routines together with the natural and built environment make up the cultural body of the most interesting, perhaps, man-made environment in history. A culture that runs as a commonplace even in seemingly different worlds. The Mediterranean emerges in a sea of convergence and meeting without, however, ignoring the dynamics of the different.
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The Turkish Sultan Mehmed V Resad Visiting Bitola The Turkish Sultan Mehmed V Resad Visiting Bitola 24 Jan 1911
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Newsreel of the visit of sultan Mehmed V Resad to Bitola.
Skopje '63 
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"Skoplje '63" is a 1964 Yugoslavian documentary film directed by Veljko Bulajić about the 1963 Skopje earthquake (Skoplje, per film title, is the Serbo-Croatian spelling of Skopje). The filming started three days after the earthquake and lasted for four months. After that, Bulajić spent 12 months editing the footage at Jadran Film studios.
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[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