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2009 · ★ 0.0 (0)
Documentary about chinese people living in Romania.
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1989 · ★ 0.0 (0)
Brightly coloured animated drawings rotoscoped from high contrast black and white negative film of Ivor Cantrill aged 14, are integrated with the original negative and positive images on an optical printer to create patterns of black, white and colour. The film-maker reminisces about being 14 and describes the rotoscoping process. Ivor Cantrill is autistic, and his attention to detail and his preoccupation with repetition are positive aspects of his condition.
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2002 · ★ 0.0 (0)
5 separate, slightly immoral stories.
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2004 · ★ 6.0 (2)
Tales from the Inside Women inmates of Puente Grande Federal Prison in the state of Jalisco give testimonies of their lives and convey the emotional experience of their confinement. Speaking from their own experience, they reflect upon the human condition, survival, and the concept of freedom.
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1998 · ★ 5.0 (5)
Award-winning documentary film about old age and the elderly. We meet residents and staff at a nursing home and take part in the madness, humor, desire, sorrow, hopes and the great love that this miniature society holds.
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2011 · ★ 0.0 (0)
When the Norwegian-Turkish filmmaker Nefise Özkal Lorentzen was little, she used to send letters to Allah by balloon. Now she wants to send a new balloon to change the role of women in the Muslim culture. By following her grandmother's path as a 'sufi', she embarks on a journey to rediscover the Islam of her mother's mother. The film switches between her actual journey and her dreams. She experiences the diversity of Cairo, Istanbul and Oslo by drinking tea with the Egyptian feminist Nawal El Saadawi, finding hope and inspiration in the life of the 90-year-old author Gamal al-Banna and meeting a young Salafist. On her journey through the labyrinth, it dawns on Nefise that Islam is not the only place to search, but that there are correlations between the three Abrahamic religion and the oppression of women.
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1998 · ★ 0.0 (0)
A young Argentine woman comes to Cuba to make a documentary about prostitution. But instead she gets herself a black Cuban lover and the boundaries of prostitution start to fade.
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1992 · ★ 0.0 (0)
"A rubbish dump in the mountains of southern France. Camera-editing results in a suggested but untold story." —Milena Gierke
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1992 · ★ 0.0 (0)
An experimental short by Barbara Freund and Rainer Bellenbaum shot in and around East Berlin in 1990.
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2005 · ★ 0.0 (0)
Day through night Block is a portrait of a 1960s London tower block, its interior and exterior spaces explored and revealed, patterns of activity building a rhythm and viewing experience not dissimilar from the daily observations of the security guard sat watching the flickering screens with their fixed viewpoints and missing pieces of action.
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1997 · ★ 0.0 (0)
The Santa Semana, the week before Easter, is a major celebration in Malaga, Spain. Dozens of processions move through the streets with beautiful floats. During this annual ritual, the Cofradía Jesus El Rico y Maria Santissima Del Amor Brotherhood has the right on Holy Wednesday to give one of three prisoners chosen in advance his freedom. The film shows the three prisoners speculate about their release, while the brotherhood decorates the floats. (filmcommission.nl)
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2013 · ★ 6.0 (1)
A day in the lives of six Russian twenty-somethings living in St. Petersburg.
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1984 · ★ 0.0 (0)
Hand-drawn directly onto 16mm film, this animation is a 'diary' of daily drawing-on-film practice by Ivor Cantrill over a period of 18 months. Drawing style ranges from bold geometric patterns, to a delicate calligraphy.
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1931 · ★ 6.0 (2)
The Mighty Conqueror. This ten-minute film was produced by Neville Macken with some involvement from pioneer female filmmaker Paulette McDonagh completed in 1931.
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2005 · ★ 0.0 (0)
Petrolia takes its name from a redundant oil drilling platform sat in the Cromarty Firth, Scotland. The film looks at the architecture of the oil industry along the Scottish coastline where oil and gas supplies are predicted to run dry in the next forty years. Shooting on 16mm film, using time lapse and long exposure techniques, the film presents a record of industrial phenomena, – the toxic beauty of the refinery at Grangemouth, huge drilling platforms gliding across the water as they come in for maintenance and repair at Nigg and the last dance of the shipbuilding cranes in Glasgow harbour.
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2004 · ★ 0.0 (0)
Across the surface of the forest, light, colour, shadow shift; rhythmic, kaleidoscopic. Matter and the immaterial in constant counteraction. The screen becomes a painting in animation. Ordinarily, light describes the motif. Here, the forest is almost – almost – occluded as the light that delineates the world becomes autonomous, visible; describes itself as subject. There are some very strange effects: light and shadow grow, die back; bark shimmers; branches tremble, or clouds pass above; trees shiver in the cold, or shake in threatening gesture; sunlight flickers, on and off, like an electric bulb. The portrait lives. These films are not the index of space and objects, but a cinema of time, movement, light; flickering lashes of mesmerised eyes in the click of an aperture.
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2003 · ★ 0.0 (0)
Composed of a series of twilight images of empty streets, Nocturne is a mesmerising and tonally expressive work that similarly recalls the seminal tone poem Koyaanisquatsi, with the rigourous symmetry and urban desolation of Chantal Akerman’s News From Home. — New York Video Festival 2003 Notes.
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— · ★ 0.0 (0)
Venetian gondola installed in an artificial lake moves the life of a small town in southern Santa Catarina where 95% of the 13 thousand inhabitants are descendents of Italians from the Veneto region. Only four gondolas were officially donated by Italy, the others are in Toronto/Canada, Saint Petersburg/Russia, and Las Vegas/USA. The documentary recovers the history of the coming of this gondola to Brazil and reflects on why it rekindled the sense of Italian identity in the town. They even have the “Carnival of Venice”, and the festivity gathers hundreds of masked party goers in costumes made by local artisans.
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1977 · ★ 0.0 (0)
The first part of the film is in colour and consists of arguments about how to make films and what film to make. The film then changes to black and white and the argument continues about houses and planning, with shots of the destruction of a house, and shots from other films of the houses it used to be. The arguments are not conclusive and the film is about doubts rather than certainties. - A.R.
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