2013 · ★ 0.0 (0)
A reflection on pregnancy, taxidermy, and techno music.
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2002 · ★ 10.0 (1)
Nightingale is a film that uses a love affair to examine the way we recreate our own histories; continuously fictionalising our past and forever altering the events within them.
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1987 · ★ 8.0 (1)
1987 movie
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2014 · ★ 0.0 (0)
"In a gesture that reminds one of the first forms of painting (...) the possibility of an encounter with time is disclosed. It is a very different kind of knowledge then, that can disclose hidden narratives to us.” (Cecilia Canziani)
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2019 · ★ 0.0 (0)
„Insolite“, sounds like a name of a stone but means odd, unsual. A series of images, following no narrative, becomes an enumeration of places in high tension, under surveillance and covered in lava. Is the mountain living or is it fear that creates the illusion of underground tremors?
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1990 · ★ 0.0 (0)
In “Feel the Fear” (1990, 24 minutes) images and ideas about television viewing, self-help therapy, alcohol use, acting, mimicry and social responsibility are linked by metaphoric and formal similarities to imitate connections of cause and effect. But the suggestion of causal logic doesn’t hold up and becomes increasingly skewed. The film’s structure is a metaphor for the contradictions of the culture in which it was made.
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2018 · ★ 0.0 (0)
A dreary stone grotto populated by mysterious beings lurking in narrow niches, appearing as hordes of zombies with dead eyes, or disturbing with beautifully abhorrent faces. Atmospheric projections intensified by a cataclysmic horror soundtrack to an enthralling ghost train ride through uncanny terrain.
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2012 · ★ 0.0 (0)
A Super 8 film that aims to convey the illusion of being an amateur film found on the pavement, as if it had been left there because of its illegal content.
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1996 · ★ 0.0 (0)
The Fragile Promise of Choice: Abortion in the United States Today is a documentary film by Dorothy Fadiman which examines abortion rights and access in the U.S. in 1996 which was 23 years after the legislative decision, Roe vs. Wade. Dorothy narrated the film which featured interviews with abortion care providers and news clips, including one of Dr. George Tiller. It is last of three films called the Trilogy on Reproductive Rights or the From the Back-Alleys to the Supreme Court & Beyond Trilogy.
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1998 · ★ 0.0 (0)
"Goldfish swimming in a fountain at Sans Souci in Potsdam." —Milena Gierke
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2010 · ★ 0.0 (0)
Two girls at home on their living room sofa. They watch something on the TV screen: a man appears, he's looking up, there's a cigar in his mouth. He's wearing glasses, with smoked lenses, a visor on his head, a blue visor. White letters appear on the black background. He blinks. White letters appear, he looks down. He draws smoke, takes a drag. Pulls the cigar out of his mouth. Smoke comes out. He keeps looking up.
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1992 · ★ 0.0 (0)
"Depending on the light and the angle, one can see a variety of reflections in double-paned glass. I used this phenomenon to film a defracted self-portrait." —Milena Gierke
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1990 · ★ 0.0 (0)
"This film was shot from a parked car. One observes and is observed…" —Milena Gierke
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1960 · ★ 4.0 (1)
In the Brisbane Creative Leisure Centre, conducted by the Cantrills, children are shown reproductions of stained glass windows and then make large transparent pictures with black paper, coloured cellophane, and other materials such as discarded x-ray pictures and textured fabric, with a minimum of instruction. These are taken indoors and fastened to window panes.
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2002 · ★ 0.0 (0)
We follow the director's camera into the kitchens and living rooms of a community of Moroccan women. inside the walls of their apartment in Casablanca's old Medina, the women cook, clean, take care of their families and help each other. With their hands in the dough, in the soap whilst washing the laundry, doing the house chores, in the market or at the hammam, between laughter and tears ("We are housewives, that's all. ... Our sport? House cleaning!"). These courageous women, proud of their role, talk about their miserable lives with a great sense of awareness, but without self-pity. They show a surprising vitality, curiosity for life and solidarity.
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2020 · ★ 0.0 (0)
A documented visit to Cairo, Egypt.
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2019 · ★ 8.0 (1)
Story of the filmmaker's journey with Uma, a certified scuba diver, exploring the underwater world and the threat to coral reefs of Gulf of Mannar, India. Born in a traditional family in Tamil Nadu, 53 year old Uma, a homemaker, has been trying to bring attention to this alarming environmental issue through her paintings. It is, in fact, these corals that inspired Uma to learn how to swim, dive and paint in her 50s.
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2015 · ★ 0.0 (0)
The Film locates the life and work of a woman political activist in her everyday existence, the relationships she lives out at home and in her work and the political affiliations she tries to hold together, even as they are subjected to multiple stresses.
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2019 · ★ 0.0 (0)
The portrait of me and my daughters which depicts the relationship between “the personality” and “the world / the society” as of 2018. This is the story about an intense dichotomy inside / outside of me. It goes back and forth between “the personality” and “the world / the society”, my daughters become social / universal existences from personal existences. The definition of “red” extends to “life” and appears as a powerless and religious Daruma doll which loses its arms and legs. “White” and “black” rise above a simple dichotomy and start to possess the concept of “gray”. And the world which is made of a mix of various colors becomes “transparent”. If you keep sticking to “the personality”, it changes to “the world”. This is my destination throughout my creative activities and shows what the world is [FilmFreeway].
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2020 · ★ 0.0 (0)
In The Reversal, Jennifer Boles engages the archive – and foregoes making new images in favour of repurposing existing ones. Photographs of the reversal of the Chicago River at the turn of the nineteenth century unfurl to an appropriately machine-like rhythm. The result is a haunting, black-and-white evocation of the efforts of anonymous men whose collective labour – and, often, lives – went into this capital-driven reorganisation of nature.
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