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.
Celebration at Big Sur
Everyone did it... for the sheer love of it.
Star-studded show recorded at the Big Sur Folk Festival, Big Sur, California, September 13th and 14th, 1969. Joan Baez, Crosby, Stills, Nash & Young, Joni Mitchell, John Sebastian, and others. This film captures a remarkable moment in folk, rock, and pop history - the famous folk festival that brought traditional acts like Dorothy Morrison & The Combs Sisters and Carol Ann Cisneros together with the psychedelic rockers of the day who were most deeply rooted in the folk revival. Older songs like ‘Oh Happy Day,’ ‘Rise And Shine,’ ‘All God’s Children,’ and ‘Swing Down, Sweet Chariot’ meet Joni Mitchell’s ‘Woodstock,’ Joan Baez’s ‘Sweet Sir Galahad,’ ‘Bob Dylan’s ‘I Shall Be Released,’ CSNY’s ‘Down By The River,’ and many more of the now-classic songs of what was then called the ‘new rock.’ The scene is notably intimate and - aside from one fan’s dustup with Stephen Stills - mellow, with many rare, close-up moments with the stars.
Top Billed Cast
Joan Baez Self
David Crosby Self
Joni Mitchell Self
Graham Nash Self
Stephen Stills Self
Neil Young Self
John Sebastian Self
Dallas Taylor Self
Greg Reeves Self
Mimi Fariña Self
Chris Ethridge Self
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Full Metal Village Full Metal Village The Zerda or the Songs of Forgetting 
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.
