On the planet Ygam, the Draags, extremely technologically and spiritually advanced blue humanoids, consider the tiny Oms, human beings descendants of Terra's inhabitants, as ignorant animals. Those who live in slavery are treated as simple pets and used to entertain Draag children; those who live hidden in the hostile wilderness of the planet are periodically hunted and ruthlessly slaughtered as if they were vermin.
In 1976-77, José Ma Berzosa contacted General Pinochet during a trip to Chilean Antarctica. On his return to Santiago, Pinochet agreed to be interviewed. In front of the camera, the General and three members of the junta speak about their memories and political thoughts, artistic tastes and their family lives. From the interviews, conducted in an apparently cordial atmosphere, emerges an ironic portrait without concessions of their taste for order, efficiency and a certain "ordinary fascism." By way of contrast, the families of victims and missing people endure a different reality.
In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.
Belgian filmmaker Chantal Akerman lives in New York. Filmed images of the City accompany texts of Akerman's loving mother back home in Brussels. The City comes more and more to the front while the words of the mother, read by Akerman herself, gradually fade away.
Renowned filmmaker Aki Kaurismäki, creator of The Man Without a Past (Grand Prix du Jury, 2002 Cannes Film Festival) and acclaimed films such as Ariel, Leningrad Cowboys Go America, and Drifting Clouds, is the subject of AKI KAURISMÄKI, the latest release from the Cinema, of Our Time series. The younger member of Finland's most prolific and irreverent filmmaking team, Kaurismäki, together with older brother Mika, virtually invented "The New Finnish Cinema." Since 1981, Kaurismäki has made twenty-two films, many of which are excerpted in this documentary.
A structure-free, four-part examination of the rise and fall of the Third Reich. Each part explores a different topic, from Hitler's cult of personality in propaganda to how said propaganda was associated with pre-Nazi German cultural, spiritual, and national heritage to the Holocaust and the ideology behind it, particularly from Himmler's point of view.
At the end of his life, gravely ill, François Truffaut took refuge with his ex-wife Madeleine Morgenstern. She tried to keep him occupied during his long agony. The filmmaker confided in his friend Claude de Givray, with the intention of writing his autobiography. Too weakened, he abandoned the project. The film reveals part of this final story.
An intimate portrait of the small shops and shopkeepers of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker’s home for more than 50 years.
The intertwined lives of two women in 1970s France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker - despite the contrast they remain friends and share in the various dramas of each others' lives, in the process affirming their different female identities.
Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.
How can the masses be controlled? Apparently, the American publicist Edward L. Bernays (1891-1995), a pioneer in the field of propaganda and public relations, knew the answer to such a key question. The amazing story of the master of manipulation and the creation of the engineering of consent; a frightening true story about advertising, lies and charlatans.
Under the sun, the heavenly beauty of grasslands will soon be covered by the raging dust of mines. Facing the ashes and noises caused by heavy mining , the herdsmen have no choice but to leave as the meadow areas dwindle. In the moonlight, iron mines are brightly lit throughout the night. Workers who operate the drilling machines must stay awake. The fight is tortuous, against the machine and against themselves. Meanwhile, coal miners are busy filling trucks with coals. Wearing a coal-dust mask, they become ghostlike creatures. An endless line of trucks will transport all the coals and iron ores to the iron works. There traps another crowd of souls, being baked in hell. In the hospital, time hangs heavy on miners' hands. After decades of breathing coal dust, death is just around the corner. They are living the reality of purgatory, but there will be no paradise.
In an empty villa, Vera Baxter sits and contemplates her life, as she recounts to a woman who was drawn to the villa when she heard the name Vera Baxter pronounced. Vera tells her about her no-good husband, who has been using her to keep his failing business afloat, up to her present love affair.
When everything was ready for my death, I began to write of what I know precisely, which you’ve never understood, knowing you would never understand … I have made a film out of your absence.
Two enigmatic women, Leni and Viva, separately arrive in Paris, each with a hidden but shared motive. As they navigate the city and their search progresses, various characters become entangled in their conflict, one which increasingly comes to take a fantastical turn. These characters too, driven by their own desires, strive to assert their influence in the struggle. In Paris, drenched in an otherworldly ambiance, an opaque tale of desire and power emerges through mystery and secrets.
A middle-aged man travels to France and is discouraged by the attitudes of the people concerning his native land until he meets and begins relationships with two lonely women.
A thriller in which the characters are Latin-American exiles living in Paris. It is also a comedy about artists who play at revolution rather than actually participate in one
Werner Schroeter's rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films.
An English novelist is lured, with disconcerting and disorienting results, into purchasing a crumbling mansion by what he imagines are the deliberately "literary" ploys of its housekeeper and two mysterious, lurking women.
