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.
Mary Lou Williams: The Lady Who Swings the Band
She fought to create in a world that could not see past her race or gender
Jazz pianist Mary Lou Williams was a genius ahead of her time. From child prodigy to "Boogie-Woogie Queen" to groundbreaking composer to mentoring some of the greatest musicians of all time, she never ceased to astound those who heard her play. But for a Black woman in the early 1900s, life as a star did not come easy.
Top Billed Cast
Mary Lou Williams Self (archive footage)
Alfre Woodard Mary Lou Williams (voice)
Delroy Lindo John Williams (voice)
Wendell Pierce Andy Kirk (voice)
Stanley Crouch Self
Robin D.G. Kelley Self
Gary Giddins Self
Tammy L. Kernodle Self
Farah Griffin Self
Gayle Murchison Self
Alexandra Noailles Self
Peter O'Brien Self
Billy Taylor Self
Geri Allen Self - Performer
Esperanza Spalding Self - Performer
Terri Lyne Carrington Self - Performer
Wycliffe Gordon Self - Performer
Carmen Lundy Self - Performer
Joel Haberli Barney Josephson / Critic (voice)
Robert Casteline Critic (voice)
Similar movies
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.
