Light begins to illuminate the small, nipple-like end of a lemon on the right edge of the frame and gradually spreads until the entire lemon is clearly visible. Then the light recedes across the frame.
The film begins with shots of the castles of Bezděz, Točník and Karlštejn. In a restaurant at Karlštejn the guests remind Hašler that he is performing at the Varieté club. Hašler misses the train so he starts walking along the main road in the hope of getting a lift. In despair he forces a car to stop and makes the chauffeur to drive backwards to Prague. They stop at the wharf but, because he misses the steamboat , he uses a motorboat. The rest of the journey is spent on a tram. Hašler then quickly changes his clothes in his flat he reaches the Varieté club across the rooftops.
After a big night, a girl wakes to find her self in bed with a regretful one night stand. She does what ever she can to escape without waking him up.
Film based on the life and patriotic activities of teacher Petro Nini Luarasi.
Griesenow, 2013: The hairdresser Marianne Voss is found dead in the forest by her daughter Heike. Shortly afterwards, her husband Karsten comes under suspicion of murder. But he protests his innocence.
The White Box is coming, the government is on lock-down and their diplomat has vanished. On the ground a single agent races against the clock to find out if they are facing Scenario A or Scenario B - either means the end of the world as we know it but only one is a positive answer for mankind.
Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices. This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating. (Dangerous Minds)
The body of a missing teenager is “found”. Completed in under 24hrs and winner of, "Best Use Of Prop" at the Okotoks Horror Film Festival 2022.
Jason Enola is an obsessive FBI agent who is almost losing his mind after ten years on the tail of an elusive serial killer whose hallmark is the "paper trail" of notes left along with the victims. As the film begins, a new wave of killings start after four years of silence, and the psychiatrist Dr. Alyce Robertson becomes involved when she starts receiving telephone calls from the killer.
This is a fable about a woman’s right to choose her husband: it tells the story of a princess, who has several suitors. She puts them to the test, and finally chooses the one who has demonstrated the finest moral qualities.
The interwoven dramas of staff and patients in Mayfield Children's Hospital, where the doctors and nurses are in the business of restoring children's lives. One small child risks losing his sight, while twin boys fool the doctors over which one has appendicitis. Meanwhile, behind the scenes, new nurse Margaret Collier suffers pangs of unrequited love for houseman Dr. Nigel Barnes.
THE MINDS OF 99 – THREE DAYS IN THE PARK is a concert documentary film that follows the band and the individual members in the period leading up to, during, and after the magical weekend in the Park. Through a compilation of more than 300 hours of material, the audience is taken behind the scenes and gets up close to the band and the pressures and dilemmas, thoughts and emotions they encounter on the journey to the three critically acclaimed stadium concerts.
Hearts collide when the conniving Jaggan (Prem Chopra) convinces Kishan (Amol Palekar) that his wife, Shanti (Rakhee Gulzar), is having an affair with his brother Shambhu (Rajesh Khanna). Of course, all this is done so that Kishan will marry Jaggan's cousin Tulsi (Rekha) according to Jaggan's master plan … even though Tulsi would much rather marry Shambhu. Confused? Don't worry. So are these weary lovers!
The moon has finally risen over the people of Carle Place and it has brought with it a reign of terror! And only one teenager, William Stone, has any chance of stopping it.
The DaVinci Code sold over 20 million copies in 44 languages by grossly distorting the truth and re-writing history. Is it possible that the Bible was a work of fiction? Did Jesus escape death on the cross? If you believe recent accounts Jesus did not die on the cross, but instead married Mary Magdalene who gave birth to his daughter......that this great secret has been hidden from us for the past two thousand years by covert societies whose alleged members included Renaissance painter Leonardo DaVinci. The Christian faith is under attack - arm yourself with the facts by watching Challenging the DaVinci Code. World-renowned religious scholars refute the dramatic and shockingly distorted facts that attempt to derail centuries of religious beliefs and the very foundation of the Bible. In this revealing documentary, the 190-
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.
A glimpse into a visual representation of memory; A Christmas-time series of meals, coffees, and movies, with friends, lovers, and housemates. Faced with the compounding of faces and places, each moment begins to collide with one another: voices are muddled, and faces are broken. How is memory created? How are they separated from one another?
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
Five Kiwis take on a paragliding adventure in Tanzania, with the ultimate aim to fly from the summit of Mt Kilimanjaro.
The six-decade transformation of a block of houses, shown by means of artfully featured archival shots, highlights the beauty and sadness of human-made decay. In the blink of an eye 66 years pass by and a savings bank replaces a church.
A glimpse over the Diguillín River through the mechanical eye of an old digital camera. Light’s trail presents itself fortuitously over the reflection of the sun on the water, tracing infinite threads of concrete luminous information.
This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.
A homogeneous structure of wind and light across tree branches in the South region of Isère
Filmed mostly on a Mini DV camera Gavin has thought of a quick way to become successful and be the master of the world but he has to wait for it all to fall into place… he has to wait for the postman to start production documenting the process of being master of the world.
A condensation of a handful of sunsets with various visual moods. Red and blue as opposites that still find a way to cohere. Concrete silhouettes over an ever-changing, expanding canvas. Every movement is collective, molecular. Over an invisible horizon, a chance presents itself to meditate on the “speed” of water (and the sea) and also for a more fluid kind of editing.
An exciting video journey through the world of time-lapse photography by one of the founders of the science of photobiology, Dr. John Nash Ott. Do fluorescent lights cause cancer and childhood learning and behavior disorders? Can long-term exposure to low-level radiation as from TV sets, computers, fluorescent lights, and similar devices harm you? Does living behind window glass and with glasses covering our eyes over years affect our health? Is natural sunlight and trace ultra-violet radiation really harmful? Or is it necessary and beneficial? How do cells, plants, and animals respond to constant exposure to different light color frequencies? These and similar questions were the subjects of Dr. Ott's pioneering investigations in the field of photobiology, using the methods of time-lapse photography.
The film discusses the evolution and potential of using light waves, particularly coherent light, for communication. It highlights the development of lasers at Bell Telephone Laboratories, explaining how they produce a highly controlled and intense beam of light that could revolutionize communication. The film emphasizes the vast possibilities of lasers, including applications in telecommunications, surgery, and exploring the universe, suggesting that this technology represents a significant step in humanity's understanding and use of light.
“This film was a gift to me. I make no claims for it, nor do I offer any apologies. It comes from work on The Thoughts That Once We Had. There was one shot we had to cut whose loss I particularly regretted. It was a shot of a train pulling into Tokyo Station from Ozu’s The Only Son (1936). So I decided to make a film around this shot, an anthology of train arrivals. It comprises 26 scenes or shots from movies, 1904-2015. It has a simple serial structure: each black & white sequence in the first half rhymes with a color sequence in the second half. Thus the first shot and the final shot show trains arriving at stations in Japan from a low camera height. In the first shot (The Only Son), the train moves toward the right; in the last shot, it moves toward the left. A bullet train has replaced a steam locomotive. So after all these years, I’ve made another structural film, although that was not my original intention.”
The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.
Dusk of the Lights is a short experimental film directed by Allan Bustovsky.
An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus.