Everything or Nothing
A meditation on transience composed through juxtaposition of sun-bathed exteriors of Split and dark interiors, landscapes of the city and close-ups of human faces, movements and stillness, the material and the spiritual.
Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.
A meditation on transience composed through juxtaposition of sun-bathed exteriors of Split and dark interiors, landscapes of the city and close-ups of human faces, movements and stillness, the material and the spiritual.
A mother confronts Death as to why he has to take her young boy. And he shows her the future to explain why he need to be eliminated.
A mysterious man with a cup full of money stands in a dark alley. After a woman throws money into the cup, the two kiss. The woman has thus been cursed.
Dramatization of the real-life shooting of Stanford White by Harry K. Thaw.
The central figure is an old miser, a Harpagon of sorts, who, like Frosine, stashes his ill-gotten money in a secret cellar. While the miser is at the bank, exchanging stolen notes for gold coin, a couple of thugs witness the transaction and see their opportunity-- It seems avarice grips the hearts of all those who'd possess the bag.
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A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre. The film had an incredible impact on the development of cinema and is a masterful example of montage editing.
This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.
Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.
A semi-documentary experimental 1930 German silent film created by amateurs with a small budget. With authentic scenes of the metropolis city of Berlin, it's the first film from the later famous screenwriters/directors Billy Wilder and Fred Zinnemann.
A man waits. He longs for and mourns for, his increasingly disconnected and disparate love for a person. Goodbye to Love is an epilogue of a romance, contemplative of a protagonist who meditates on the forking ways his liaisons have left him. Suspended in that final, desperate monochrome moment, Goodbye to Love geometrically traces the evaporating points of a love triangle in three spare, melancholic acts. An elegy to the demise of a feeling, and the longing that permeates
Timothy and Gay, orphans from the slums of Boston, escape to Maine in search of a home and manage to thaw Avilda's embittered, grief-stricken heart. A charming pastoral about two unwanted children finding acceptance and love.
When Eddie, the son of a police officer, gets involved with a criminal gang, his sister tries to steer him away from crime.
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The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
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A new skyscraper is being built in New York City, and numerous workmen are busy at hazardous jobs high above the ground. When one of the workers, Dago Pete, deliberately starts a fight, he is immediately fired. But the discharged worker soon comes up with a plan to commit a robbery and get even. His scheme could affect the lives of several others.
A lottery win of $5,000 forever changes the lives of a miner turned dentist and his wife.
You Take Care Now, an early student film, is a perfect exemplar of Ann Marie Fleming's idiosyncratic vision and stands as one of her signature works. Made on 16mm, and incorporating found footage, original material, animation, and processed images (Vancouver's groundbreaking avant-garde cinema of the 1970s is a decided influence here), Fleming's film offers a visually dazzling, emotionally wrenching, oddly humorous account of two profound personal traumas.
Blonde Betty Elms has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia. Meanwhile, as the two set off to solve the second woman's identity, filmmaker Adam Kesher runs into ominous trouble while casting his latest project.