01 Jan 1961
After Hours
Documentary short showcasing the genius of jazz greats Coleman Hawkins, Roy Eldridge, Cozy Cole, and Milt Hinton, among others.
Planet Dinosaur: Ultimate Killers
Adapted from the multi-award winning BBC1 series, Planet Dinosaur 3D recreates the lost world of the dinosaurs in a groundbreaking stereoscopic production. This is one of the most ambitious animated programmes ever attempted for broadcast TV, recreating every detail of these extraordinary animals in an entirely digital production that stretches the boundaries of broadcast 3D with a scale and ambition normally reserved for Hollywood feature films. Planet Dinosaur 3D is a thrilling and immersive journey into a lost world. Pulling together cutting edge research from around the world this programme uses the latest, stunning fossil evidence to chart the rise and fall of the 'Ultimate Killers'; from the iconic Spinosaurus, the largest predator ever to walk the Earth, to Microraptor and the feathered, flying dinosaurs from China. At last, thanks to the advances in technology, and for the first time ever, these monsters can be experienced in all their full, magnificent wonder.
Top Billed Cast
John Hurt Narrator (voice)
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Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.
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A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
Strade perdute - Filmmaker 23 
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For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.
Sarajevo Film Festival 
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Sarajevo in the twentieth month of its besiegement. The situation is critical, but the city chooses to organise an international film festival. Dutch filmmakers Johan van der Keuken and Frank Vellenga present Van der Keuken's documentaries Face Value and Brass Unbound there, and one of the festival organisers asks a festival visitor: "What is the significance of film in war?" In Sarajevo Film Festival Film, a reflection on film, war and daily life, fictional images are juxtaposed in a disconcerting way with the gruesome reality of the life of a festival visitor.
The Future Is Rotten The Future Is Rotten 25 Sep 2020
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A secret culture of foragers hunt the Matsutake, a coveted Japanese mushroom worth up to $1,000 a pound—although its true value lies underground as a brilliant networker and healer of ruined landscapes. The Matsutake might just be our last, best hope for an American forest system run amok.
Workers Leaving the Lumière Factory 
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Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
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Music scores are atomized and recompiled into instructions for visual edits and cues. Ties are uncovered between sight and sound.
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A Staircase 
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Water Theater 
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XYZ 
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Compiled and animated from still images.
We Live in Prague We Live in Prague 13 Jul 1934
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Die 7 Todsünden des Staatsbürgers Die 7 Todsünden des Staatsbürgers 01 Jan 1958
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No overview found
Visconti: La verdad del melodrama Visconti: La verdad del melodrama 12 Mar 2001
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Another Sunny Day 
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Imagine how life must be for someone whose skin has no protection whatsoever from the sun. And now imagine living in a country that averages over 80% sunshine during any given year. Welcome to Paulus's life in Namibia.
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Land Without Bread 
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An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.