Gloria Mundi
An actress of political torture movies made by her husband has to finish his latest film and arrange a screening for distributors while the husband, who is also secretly an anarchist revolutionary, is away for some resistance operation.
Aggression, Schroeter’s first 16mm film, is the fictive portrait of a woman who is oppressed by her (unseen) boyfriend.
An actress of political torture movies made by her husband has to finish his latest film and arrange a screening for distributors while the husband, who is also secretly an anarchist revolutionary, is away for some resistance operation.
Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video."
Two westerners, a priest and a teacher find themselves in the middle of the Rwandan genocide and face a moral dilemna. Do they place themselves in danger and protect the refugees, or escape the country with their lives? Based on a true story.
20 volunteers agree to take part in a seemingly well-paid experiment advertised by the university. It is supposed to be about aggressive behavior in an artificial prison situation. A journalist senses a story behind the ad and smuggles himself in among the test subjects. They are randomly divided into prisoners and guards. What seems like a game at the beginning soon turns into bloody seriousness.
The story means to develop through an uncovering of layers - strata. As writer Krumbachova stated: "With nature as a prison, an impassable barrier ... where every action is physically and psychically limited by the environment ... people are reduced to fragments of basic instinct and intelligence." Promoted as a psychological thriller, Strata provides little tension nor any real climax. The characters are ideas - not believably real.
Among the millions of victims of the Nazi madness during the Second World War, Pierre Seel was charged with homosexuality and imprisoned in the Schirmeck concentration camp. He survived this terrifying experience of torture and humiliation, and after the war he married, had three children, and tried to live a normal life. In 1982, however, he came to terms with his past and his true nature and decided to publicly reveal what he and thousands of other homosexuals branded with the Pink Triangle had undergone during the Nazi regime. Il Rosa Nudo (Naked Rose), inspired by the true story of Pierre Seel, depicts in a theatrical and evocative way the Homocaust, focusing on the scientific theories of SS Physician Carl Peter Værnet for the treatment of homosexuality, which paved the way for the Nazi persecution of gay men.
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"Using the same, three times repeating dialogue – dramatic conversation between man and woman – Jerzy Skolimowski from Poland, Slovak director Peter Solan and Czech director Zbynìk Brynych shot three different stories. The result was an extraordinary experiment in the world cinema, which we can call an insight in the relationships of men and women of different age groups, an analysis of love and marriage of those who are at the beginning, in the middle or going towards the end of their life."
In a small supermarket in a blue collar town, a black man smiles at a 10 year old white boy across the checkout aisle. This innocuous moment sends two gangs into a ruthless war that ends with a shocking backlash.
After her stepdaughter is sexually assaulted at a party, a furious mother sets out to destroy the lives of the four perpetrators who walked free.
The rebellious socialist Knut is subjected to a mental evaluation after he assaults a stranger on the street. Psychologist looking track Knuts aggression in childhood experiences while Knut himself sees them as a natural reaction to the class society's oppression.
Hawaiian Punch follows two young Mormons, Nick and Tor, during their time in Hawaii. The audience is privy to their lives sharing a house and their recreational activities around the island. Afternoons are spent cliff diving, cruising on their moped along palm tree-lined streets and talking about relationships and religion.
As powerful and complex as is AKRAN, 37-73 is more taut, richer in associative meaning .... 37-73 is about dreams, about memory and its associations with nightmare and magic.
Filmed on Super-8, Footsy is César Velasco Broca's first short, in which he explores the fetishistic obsessions of a socially repressed man.
Seymour works in a skid row florist shop and is in love with his beautiful co-worker, Audrey. He creates a new plant that not only talks but cannot survive without human flesh and blood.
Seymour Krelborn is a nerdy orphan working at Mushnik's, a flower shop in urban Skid Row. He harbors a crush on fellow co-worker Audrey Fulquard, and is berated by Mr. Mushnik daily. One day Seymour finds a very mysterious unidentified plant which he calls Audrey II. The plant seems to have a craving for blood and soon begins to sing for his supper.
Animal Charm makes videos from other people's videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall 'essence' of mass culture that would not be apprehended otherwise. Videos such as Stuffing, Ashley, and Lightfoot Fever upset the hypnotic spectacle of TV viewing, revealing how advertising creates anxiety, how culture constructs "nature" and how conventional morality is dictated through seemingly neutral images. By forcing television to convulse like a raving lunatic, we might finally hear what it is actually saying.
In an effort to cure her smoking habit a middle-aged woman discovers that she can communicate with her long lost son while watching a Halloween safety program on TV. After suffering a nervous breakdown, her husband, a used car salesman, is revitalized when he travels back in time to drive the first car he ever sold. Seventeen years later a powerful canned food manufacturer crashes the same car into a toaster truck while endorsing a brand of yams on live TV. At the funeral his clergyman experiences a crisis of faith when he and a lifelike Mexican continue their search for a married couple who have befriended an insect who enjoys drinking lime soda. They later meet a young man whose bizarre murder scheme involves four innocent members of an experimental rock band who have all given up smoking.
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
This documentary is a journey into our own fascination, a collection of portraits of folk musicians living in New England, and a study of the ground on which their music is founded. We listen to them as they tell their stories and play their music. First and foremost, Behind a Hill is a tribute to these musicians and a rare peep into the house parties and basement jams of New England, in the northwestern corner of the USA, with the vain hope attached that maybe you, the viewer, will grow as fond of the music as we have. When we first encountered these musicians, we were overwhelmed by the quality of their musical output. We were entranced by the melodies, harmonies, rhythms, and tempos and every other element that constitutes a song (or, as is often the case, a piece of abstract drone music, heavy feedback, or someone banging a steel pipe against a bag of dirt while chanting in a yet undiscovered language, or...).