01 Oct 1980
Larisa
Elem Klimov's documentary ode to his wife, director Larisa Shepitko, who was killed in an auto wreck.
A New Romance of Celluloid: The Miracle of Sound
This short documentary, presented and directed by MGM sound engineer Douglas Shearer, goes behind the scenes to look at how the sound portion of a talking picture is created.
Top Billed Cast
Greer Garson Self
Clark Gable Self
Hedy Lamarr Self
Spencer Tracy Self
Norma Shearer Self
Robert Taylor Self
Conrad Veidt Self
Alla Nazimova Self
Ann Sothern Self
Ruth Hussey Self
Walter Pidgeon Self
Robert Young Self
Lew Ayres Self
Lionel Barrymore Self
Laraine Day Self
Judy Garland Self
Lana Turner Self
Joan Crawford Self
Cary Grant Self
Katharine Hepburn Self
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Go behind the pre-production, production, and post-production process of making New Line Cinema's Final Destination 3, exploring the history of not only the film itself but of its filmmaking partners, Glen Morgan and James Wong, and gain insight on the production as a whole. Includes early development meetings, on-set action, interviews with cast and crew, visual effects development, test screening process as well as an elaborate ending re-shoot.
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A short about American life and history produced for the millennium New Year's Eve celebration.
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In rural Kosovo, identical houses are built for family members working abroad, in the hope that they will one day return to settle in their old homeland.
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The 2019 SUMMER PACKAGE in Korea by BTS follows the format of a summer vlog. Following the group's activities in Korea, the DVD features the members partaking in photoshoots around various locations, along with behind the scenes to the '2019 SUMMER PACKAGE in Korea' photo book and merchandise collection.
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A student's increasingly intimate line of questioning causes his interview with a local horror host to take a vulnerable turn.
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In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.
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Twenty-five films from twenty-five European countries by twenty-five European directors.
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A short documentary profiling the lives of three transgender Black men, exploring what life is like living as a Black man when no one knows you are transgender, and their journeys with gender in the years since they transitioned.
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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.
The Voice of Hollywood The Voice of Hollywood 30 Aug 1930
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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.
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