19 Apr 2007
Full Metal Village
The film describes the microcosmos of the small village Wacken and shows the clash of the cultures, before and during the biggest heavy metal festival in Europe.
Love+War
Sometimes the greatest conflict is internal.
Pulitzer Prize-winning conflict photojournalist Lynsey Addario reflects on a career working in some of the world's most dangerous war zones, including the Russian invasion of Ukraine.
Top Billed Cast
Lynsey Addario Self - Photojournalist
Yulia Bondarenko Self
Steven P. Bungay Self - Security Advisor / The New York Times
Serhiy Perebyinis Self - Husband & Father
Paul de Bendern Self - Lynsey's Husband
Alfred de Bendern Self - Lynsey's Son
Lukas de Bendern Self - Lynsey's Son
Camille Addario Self - Lynsey's Mother
Phillip Addario Self - Lynsey's Father
Alice Gabriner Self - Former Photo Editor / Time & National Geographic
Meaghan Looram Self - Director of Photography / The New York Times
Dexter Filkins Self - Staff Writer / The New Yorker
Michael Schwirtz Self - Investigative Reporter / The New York Times
Lesley Addario Bentivegna Self - Lynsey's Older Sister
Lauren Addario Self - Lynsey's Older Sister
Bruce Chapman Self - Lynsey's Stepfather
Kathy Ryan Self - Director of Photography / The New York Times Magazine
Daniel P. Kearney Self - Commander / Fort Drum's 1st Brigade Combat Team
Tyler Hicks Self - Senior Photographer / The New York Times (archive footage)
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The Zerda or the Songs of Forgetting 27 Feb 1983
The Zerda or the Songs of Forgetting
“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.
